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contents / June 2014

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Adrian Mourby discovers the wonders of Dublin’s Drury Street

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Serbian trumpeter Marco Markovic reveals his favourite tracks

Our verdict on an eccentric suite at Thailand’s unique Iniala resort

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Paying a visit to an independent record store in Amsterdam

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Michelinstarred chef Jason Atherton shares his favourite places to eat in London

Open skies / June 2014

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Our comprehensive guide to Jakarta

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Meet the man behind a hydroponic farm in the UAE desert


contents / June 2014

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Pop-up Christchurch

front (25) Calendar The Grid The Question The Street Skypod The Room

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Consume BLD Mapped Local Knowledge Column

Main (81) Being PelĂŠ Our Man In Pop-up Christchurch The Revolutionary In A Brooks Brothers Suit

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briefing (115) 82 90 96 107

News Comfort Visas & UAE Smart Gate Route Map The Fleet Last Look

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EDITOR’S LETTER

H

Gareth Rees, Editor

“BEING PELÉ IS A FULL-TIME JOB, AND, AT 73, THE MAN IS STILL PERFORMING AT THE TOP OF HIS GAME”

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ours of my life have been spent watching sport: cricket, rugby, tennis, boxing and many others. I have played all of these sports at one time or another – some of them to a relatively high standard. I am, no doubt about it, a sports fan. But, and this is an astonishing admission for a British man, I have never been that fussed about football (soccer, if you’re from the land of the NFL, which I have also recently started following). Now, some of you might think that it’s because I am Welsh – the common misconception being that the round ball is frowned upon in the land of the far superior game of rugby and loudly sung hymns – but that is not the case. The Welsh love football as much as the other nations of the British Isles. No, it’s just that I never understood the appeal of football – and no, it’s not because I am baffled by the offside rule. Don’t get me wrong, I used to kick a ball around in the playground as enthusiastically as the next child; I collected Panini football stickers for a while, as all British boys of a certain generation did; I had ‘a team’ for a fleeting moment (West Ham United); and I have watched, sporadically, England’s many recent failures in international tournaments (Wales never get that far). I have been caught up in the communal excitement on occasion – something that will probably happen again during this World Cup – but, on the whole, the beautiful game leaves me cold. What I am interested in is icons – those elite few who have reached the very top of their game: musicians such as Miles Davis, Elvis (again, I wouldn’t call myself his number one fan), Frank Sinatra and Bob Dylan, sportsmen such as Muhammad Ali and Don Bradman, movie stars such as Humphrey Bogart and Marilyn Monroe, writers such as Norman Mailer or Raymond Carver, or political figures such as JFK or Martin Luther

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ON THE COVER / The 2014 FIFA World CupTM kicks off this month. Offered the opportunity to interview a player known for his many astounding performances in the tournament, the Brazilian legend Pelé, featuring the great man on the cover was a no brainer. In celebration of Pelé’s achievements on the pitch, we have used in image of him in his 1960s prime, and, as you can see (above), he was nice enough to give it his official sign-off.

King. I would have done some pretty despicable things to be able to interview these titans. In football, there is only one man whose name holds a similar sort of weight to these figures – at least to those not that interested in the game he – and millions of others – loves so dearly. That man is Pelé. Tell somebody you have had the chance to interview Pelé, as I have done quite a bit recently, and even those who couldn’t care less about football will nod their heads in recognition of the name. In person Pelé was polite, happy to talk about his life and his career, surprisingly modest and generous with his time – and he loves football, the game that is still his life, more than 30 years since he last played in a competitive game. Being Pelé is a full-time job, and, at 73, the man is still performing at the top of his game. Pelé is a a truly impressive individual, whether you love football or not. Enjoy the interview, the World Cup and the issue.


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CONTRIBUTORS

SOME OF THE PEOPLE WHO HELPED CREATE THIS MAGAZINE

LEAH MCQUEEN

CLAIRE LEO BLOOMFIELD BYRNE

IMOGEN ROSE

“I love photographing stylish people on streets all over the world,” she says. “What people wear is an expression and statement of who they are. Here in London there are so many people who all have a unique style, different to other cities.”

“David is every bit as charming as you would imagine, she says. “We share a love for Paris and the French culture, so it was a pleasure to speak to him about his former home. He even assisted in securing a table at one of the city’s most sought after restaurants.”

“There is a refreshing, new beauty to Christchurch,” she says. “This is a city experiencing an exciting, transformative period. The proliferating pop-up culture reflects the city’s indomitable spirit and innovative energy.”

Leah is a London based fashion photographer who has been published in magazines such as Vogue, Hello!, The Daily Telegraph and Nowfashion. She shoots Fashion Week shows in New York, London, Milan, Paris, The British Fashion Awards, BAFTAs and Cannes Film Festival. For this issue she produced the image for our ‘Last Look’ page.

Claire is a sports journalist known for interviewing the biggest stars in sport. Claire has survived a one on one with Mike Tyson and won an accent contest with Usain Bolt. Claire’s work has featured on Sky Sports and BT Sport, and in The New York Times. For this issue she spoke to former footballer David Ginola for this month’s ‘Our Man In’.

Leo is a commercial photographer based in Dublin. Alongside his work for Ireland’s top ad agencies, and global brands such as Nokia and Renault, Leo has a keen interest in portraiture. A series of Leo’s portraits, Common As Muck, is on display as part of the Royal Hibernian Academy Dublin Annual Exhibition 2014. For this issue he photographed Drury Street in his hometown of Dublin for ‘The Street’. “Working on this project made me look at my city in a whole new light, like seeing my home from a visitor’s perspective,” he says.

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Imogen is a writer based in Brisbane, Australia. She created Magnus, Knight Of Nights, a multi-platform, children’s property that took her to Cannes. Her psychologicalthriller feature film, A Gun For Soldier, is set in New Zealand and France. For this issue, she travelled to post-earthquake Christchurch to discover its exciting pop-up culture.

JOHANNA MACDONALD

Based in Christchurch, New Zealand, Johanna Macdonald specialises in documentary, wedding and fashion photography. Her work has been published in Her Magazine, Smith Journal, Avenues and Frankie Magazine. Johanna has travelled the globe, from the Favelas of Brazil to the villages of inland Malaysia. For this issue she photographed pop-up culture in Christchurch. “As a first-hand witness of the Christchurch earthquake and the devastation it caused, documenting the creative rebirth of my home-town was a rewarding experience,” she says.


Drury Street Adrian Mourby explores the street at the heart of Dublin’s Creative Quarter

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front LONDON: Michelin-starred chef Jason Atherton shares his favourite places to eat in the UK capital UAE: Hydroponic farmer Rudi Azzato reveals the secrets to growing veg in the desert

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June

CALENDAR

June 17 to 21, England

Royal ascot June 12 to July 13, Brazil

2014 FIFA World CupTM The World Cup is one of the most viewed sporting events in the world, and almost a billion people watched the final between Spain (pictured) and the Netherlands in South Africa in 2010. Brazil will host the 2014 football extravaganza, so a party atmosphere is guaranteed. Eight national teams have won the previous 19 tournaments, but Brazil is the only country to have played in every tournament.

The first racecourse in Europe to reach the 500,000-racegoer milestone, Ascot is closely associated with the British royal family, being approximately six miles from Windsor Castle. Royal Ascot, an event that began in 1711, takes the pageantry to another level, and visitors are expected to make an effort for the occasion with a strict dress code enforced. AsCoT.Co.uk

fifA.Com/WoRldCup

June 27 to July 6, Warsaw, poland

XXII International Street Art Festival

June 21, france

FĂŞte de la Musique

The International Street Art Festival has established itself as a Warsaw institution. With events taking place across the city, audiences can view Polish as well as international street theatres. Pantomime Theatre MIMO kicks off proceedings with a challenging piece that aims to shock as well as entertain. Other artists include Divadlo Kvelb from the Czech Republic, Kryly Halopa from Belarus, Mr Pezo’s Wandering Dolls from Russia and Cirque Fusion from France. szTukAuliCy.pl

This french celebration of music has spread to more than 100 countries since its inception in 1982. Born out of a desire to see people on the streets play music, the festival showcases amateurs and professionals alike. Numerous genres of music can be heard, played by all types of musicians, and the result is a free festival that takes place across france in city centres, hospitals and even prisons. fETEdElAmusiquE.CulTuRE.fR

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June

CALENDAR

June 27 to 29, Sierre, Switzerland

on the edge oF the lake FeStival

in its eighth year, the on the edge of the lake Festival returns to Switzerland at its summer alpine lake and beachside setting of Sierre. it features live bands and dJs, a live visual art programme, beach volleyball, lake pedalos and a host of family-friendly activities. the stunning scenery is a bonus. aUbordeleaU.ch/FeStiVal

June 3, edgbaston, england

Fifth One Day International England play host to Sri Lanka in the fifth one day international of the summer at Edgbaston Cricket Stadium. Sri Lanka, who won the 1996 World Cup, as well as the recent T20 World Cup, are expected to bring star quality in the form of players such as Tillakaratne Dilshan, Mahela Jayawardene and Kumar Sangakkara. Sri Lanka won the last meeting of the teams, but there is plenty to play for with the 2015 World Cup looming. edgbaSton.coM

June 29 to July 6, Seeboden, austria

World Bodypainting FeStival

June 19 to 22, Vermont, US

Wanderlust

Wanderlust is a festival that brings together the world’s leading yoga teachers, top musical acts and DJs, renowned speakers, chefs and winemakers. This year’s event on Stratton Mountain promises dancing under the stars, hiking, sipping poolside cocktails, farmto-table dinners, early morning meditations and all-night chakra spinning musical performances. There is also a range of speakers to inform and enlighten.

Since 1998 the world bodypainting Festival has brought together artists and models to demonstrate their skills. artists from more than 40 nations compete in various activities, but the festival week starts with the wb academy, which caters to amateur make-up artists, body painters, photographers and models. classes are available for all levels with some of the best teachers in their fields holding workshops and seminars. bodypainting-FeStiVal.coM

wanderlUSt.coM

Skypod

Marko Marković page 48 28

Open skies / June 2014


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June

CALENDAR

June 29 to July 5, erdine, turkey

KirKpinar Oil Wrestling Festival

this Unesco intangible heritage event dates back nearly 700 years and is considered by many to be the longest running annual sporting event in the world. Kirkpinar showcases the talents of the pehlivan (wrestler) dressed in kisbet (traditional cowhide trousers). Pehlivans wrestle one on one until a winner is declared and given the Kirkpinar golden Belt and the title of Chief Pehlivan.

June 13 to 15, Chicago, USA

Chicago Blues Fest This Chicago institution celebrates the finest in blues music, and the 2014 theme is ‘Blues By The Lake’. It features headliners Carolina Chocolate Drops, Otis Taylor Band (pictured) and a special celebration commemorating the centennial of John Lee ‘Sonny Boy’ Williamson, featuring Billy Boy Arnold and The SiegelSchwall Blues Band with Sam Lay. The free festival is open from 11am to 9.30pm daily. CityofChiCAgo.org

KirKPiNAr.Com

June 13 to 22, Netherlands

OerOl

Set on the small island of terschelling in the Wadden Sea, oerol boasts interactive installations, theatre and music spread across the island. oerol means ‘all over’ in the local dialect and this reflects the range of entertainment available. getting to the festival is quite a task and involves train, bus and then boat, but the unique offering is worth the effort.

June 12 to 14, Barcelona, Spain

Sonar

oerol.Nl

Sonar is Barcelona’s major music festival and is split into two parts. Sonar Day is held at Plaza d’Espanya, and this year’s event sees UK-based trip hop outfit Massive Attack debut their new album with a live stage show. Sonar Night is at the exhibition centre in L’Hospitalet, but there are fringe events around the neighbourhood. This is the realm of the DJ and up-and-coming talent rubs shoulders with established names. SoNAr.eS

Mapped 30

Jakarta page 59

Open skies / June 2014


June

CALENDAR

June 13, prague, czech Republic

CZeCh philharmoniC & valery GerGiev at the rudolFinum

celebrated Russian conductor and opera company director Valery Gergiev is leading the czech philharmonic in a special one-off performance of tchaikovsky, Rachmaninoff and mussorgsky. Held at the Rudolfinum concert Hall, nearly 100 musicians feature in the performance. Valery Gergiev is also the principal conductor of the London Symphony orchestra.

June 11 to 19, Los Angeles, USA

Los Angeles Film festival The Los Angeles Film Festival, hosted by Film Independent, attracts more than 90,000 people and screens some of the best in American and international cinema. It showcases more than 100 films and past original screenings include The Devil Wears Prada and Little Miss Sunshine. There are outdoor screenings, talks and seminars as well as a host of ticket options including an all-access pass for US$2,500. LAfiLmfeSt.com

pRAGUeexpeRieNce.com

until June 2, oamuru, New Zealand

Steampunk nZ FeStival 2014

June 20 and 21, chennai, india

Hand From The Heart Hand From The Heart is a marketplace in Chennai that allows artisans, designers and entrepreneurs to showcase their collections of handmade, handcrafted, hand-woven and homemade products. Among the many exhibitors is Bindu Ramesh of Aavaran Mumbai, who will be presenting her collection of saris. There is also a farmers’ market, which sells local produce and a wide range of meals.

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Steampunk is a sub-genre of science fiction that typically features steampowered machinery, and New Zealand’s largest and longest running steampunk event provides the chance to explore the costumes and lifestyles of steampunkers. it is a family-oriented event, and throughout the weekend there will be the opportunity to visit Steampunk HQ, the timetravelers museum, and learn to ride a penny farthing and explore the many other galleries and attractions that oamaru offers. SteAmpUNkNZ.co.NZ


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June 7 and 8, amsterdam, netherlands

Amsterdam Open Air Festival

amsterdam open air festival promoter Kunna Haan explains why the fourth instalment of the annual music festival is going to be bigger and better than ever

What is Amsterdam Open Air Festival? It’s an annual music-festival in Gaasperpark, which showcases the best of Amsterdam’s nightlife for two days. Each of the nine stages is hosted by a different group each with their own musical concepts, so we get a festival full of different kinds of music and people. Subcultures blend together to celebrate their love of music. But sound is not all we provide; there’s a wide variety of culinary and cultural stalls and a selection of creative acts to be seen, too. How has the festival improved since it started in 2011? Quite a lot. Back then it was only a one-day festival, but in 2012 we expanded it to two days and opened a camping-site to enhance the festival experience.

Now, instead of being sad that it’s over, the party can continue for the campers – it’s like being on holiday. We haven’t really changed the concept, the only thing we change each year are the hosting parties (the individual stage organisers); we have to keep up to date, so we keep an eye out for successful events throughout the year and carefully choose our hosts to give the best possible example of local nightlife. Open Air By MTV is one of the hosts this year. What artists are in its programme? The Open Air By MTV is our most eclectic stage. Most Dutch visitors will know Bakermat with his funky saxophone and flute samples. For a more ‘underground’ vibe we have Maribou State, a refreshing British DJ duo with

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a unique electronic sound. Hiphop-wise, Ganz, Dio and Skip&Die are homegrown talents who will bring fresh beats straight from Amsterdam. Are there any sets you are really looking forward to? There are so many artists making their debut at the festival this year: Mr Carmack is a fairly new name in the electronic beats genre, but he has great music, which we’re sure will create a great set. Friend Within will bring the classic UK house sound, which is increasingly popular in the Netherlands. We’re also really looking forward to Jon Sa Trinxa, a lounge-legend from Ibiza. What makes Amsterdam Open Air different from Europe’s many other popular festivals? Our whole set-up is different. Instead of us being in charge of the whole line-up we let every hosting-party do what they’re good at: throwing a party. That way, every stage becomes its own special place with its own unique mix of music and decoration. It means that one visit to this festival should give a great summary of what the Amsterdam music scene is all about. Gaasperpark is famous for its beautiful landscape, specifically the rose garden. How does the landscape contribute to the festival experience? Gaasperpark is the perfect location for a festival. It’s beautiful and has quaint, romantic places hiding all over the park. The landscape really makes Amsterdam Open Air what it is; when I was at the rose garden stage last year for the sunset it really was one of the most amazing sights I’ve ever witnessed. We’re very proud of our location so we take care to return the park to its natural state when we leave. amsterdamopenair.nl

Images: amsterdam open aIr festIval

Calendar


THE GRID June 3 to 5 Automechanika Dubai, UAE

THE THREE BIGGEST EVENTS TAKING PLACE IN THE UAE THIS MONTH...

The Middle East’s leading international trade fair for the automotive industry will take place at the Dubai International Convention and Exhibition Centre this month. Exhibitors from all over the world will be in attendance, making the event a perfect opportunity for car enthusiasts to find out more about the latest motors on the market. automechanikadubai.com

June 12 to 13 The Football Fives World Championships Dubai, UAE

June 16 to 21 FINA Men’s Water Polo World League Super Final Dubai, UAE

The best amateur five-a-side football teams from 32 countries will be in Dubai to compete to become the first ever Football Fives world champions this month. The tournament will be played indoors at the Dubai World Trade Center, which seats 5,000 fans, boasts giant screens for action replays, and will provide halftime entertainment. F5wc.com

The Super Final of the Fina Men’s Water Polo World League will see eight of the best water polo teams in the world visit Dubai to battle it out. The women’s Super Final will take place in Kunshan, China, from June 10 to 15. fina.org

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OPEN SKIES / JUNE 2014


the question

WHY DO WE YAWN? It certainly seems yawning is something we do naturally, rather than a habit we learn. A foetus in the womb begins to yawn at 11 weeks. But a number of theories that try to explain why we yawn have been disproved, such as the belief that we yawn due to a lack of oxygen. A study in 1987 showed that volunteers subjected to high oxygen levels did not yawn less, and those exposed to high carbon dioxide did not yawn more. A 2010 study published in the journal Neuroscience and Biobehavioral Reviews found a lack of evidence for other physiology-based yawning explanations. One theory that is gaining traction, however, is that yawning cools our brains. In 2007, researchers found that holding warm or cold packs on the forehead affected how often people yawned while watching videos

TWITTER Q&A The UAE’s Freshly Ground Sounds explains itself in 140 characters or less

of people yawning. Another theory suggests that yawning is nonverbal communication. Why we yawn when others do was observed as far back as 1508, when Erasmus wrote, “One man’s yawning makes another yawn.” This phenomenon is believed to be associated with mimicry and empathy. This view is supported by a 2011 behavioural study, conducted by Ivan Norscia and Elisabetta Palagi, which revealed only social bonding, predicted the occurrence, frequency and latency of yawn contagion. Once again, nobody is certain, and there is a growing belief that yawning provides a number of benefits.

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@OpenSkiesMag: You provide a platform for musicians to spread their music across the UAE. How do you do that? @FreshSoundsUAE: Acoustic. Lo-fi. Plug in. Play. Enjoy. @OpenSkiesMag: Where and when do your artists perform? @FreshSoundsUAE: We don’t have a fixed schedule. We usually put on one event a month and change-up the venue, line-up and day of the week. @OpenSkiesMag: Do any of your musicians have releases scheduled this year? @FreshSoundsUAE: In April we released our EP, the first of its kind in the UAE, with @ TheRoseleafCafe. Six artists. Six original songs. @OpenSkiesMag: Who are the six artists? How did you find them? @FreshSoundsUAE: They played with us in our first 12 weeks and developed a fan base, 1 is my own band @KudosByProxy. The EP is already getting radio coverage. @OpenSkiesMag: Is the market for acoustic music in the UAE expanding? @FreshSoundsUAE: Absolutely. Acoustic artists & fans exist, but there’s never been a platform or community to unearth it all. That’s what we do. @OpenSkiesMag: Is that why you decided to start Freshly Ground Sounds? @FreshSoundsUAE: Yes. I wanted to create a community for musicians like me, as well as for lo-fi independent music fans, away from hotel bars. @OpenSkiesMag: Can new artists get involved? @FreshSoundsUAE: Always! They can sign-up via e-mail. We send shout-outs for events. No auditions. We now have more than 88 artists we’re working through.


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the street

Drury Street, Dublin Words by Adrian Mourby / Images by Leo Byrne

Drury Street is the focus of the new Dublin – the Dublin that is no longer into conspicuous consumption and fiscal folly – as it was in days of the Celtic Tiger, but the Dublin that is compact, creative and craftsman-like. These days, this narrow city thoroughfare is considered the heart of the new ‘Creative Quarter’. There isn’t a single chain or department store on Drury

Street. The street was originally laid out in the 18th century as Lower Boat Lane, part of an industrial area south of the River Liffey and east of Dublin Castle. It changed its name in the 19th century, around the time that the splendid George’s Street Arcade – the oldest in Ireland – was built with one of its castellated brick entrances facing onto Drury Street. In the 20th century Drury

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Street was the centre of the rag trade, a place where wholesalers in the garment industry stored their wares. There was also a massive underground whisky warehouse here (now Drury Street Underground Car Park), but it wasn’t until the 21st century that the street became fashionable, as a flood of independent enterprises emerged in this hitherto neglected neighbourhood.


the street

Industry Beauty, function, quality and uniqueness are the four criteria for Vanessa MacInnes’ new outlet on Drury Lane. Industry began life four years ago in a small shop in Temple Bar dedicated to sourcing unique design items from around the world. In October 2013, Vanessa moved to these bigger premises in the Creative Quarter, and she intends to expand further given the current enthusiasm for modern design in Dublin. The stock is extremely varied. There is no single range of items: handmade oak lamps from the Netherlands and candles from France sit alongside notebooks from Germany and men’s skincare products from New Zealand. There are a few excellent Irish products, such as the woollen blankets made in Donegal, but everything is chosen because Vanessa believes in it, not because the shelves need filling. As part of its outreach, Industry recently ran a poster competition open to all the “designers, illustrators and closet creatives” in Ireland. 41 A/B Drury Street, Dublin Tel: +353 1 6139111 industrydesign.ie

Kaph In July 2013 Drury Street got its first new coffee shop, opened by Christopher Keegan inside what was until recently a fashion showroom for ladies’ clothing. Inside the design is simple, the walls a blank white canvas, the ceilings high and the bar deliberately distressed, giving

the impression that Kaph has been here much longer. The well-worn floor of the original dress shop adds to this illusion. Upstairs, where there would once have been offices, there’s a quieter area where everyone has their laptops out for the free WiFi. But the recent runaway

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success of Kaph derives from its strong coffee (brewed using Has Bean blends from the UK) and its famous green tea lattes, which are a craze in Dublin at the moment. 31 Drury Street, Dublin Tel: +353 1 123 4567 kaph.ie


the street

Blazing Salads Lorraine Fitzmaurice is the small, feisty proprietor of Blazing Salads. Brought up on a strictly wholefood diet, she reckons she was something of a rarity in Ireland 30 years ago. In 2000, after leaving her Powerscourt Townhouse location, which up until then had been the trendiest spot in Dublin, Lorraine opened her delicatessen takeaway in Drury Street. She was ahead of the trend. Drury Street in 2000 was hardly fashionable. Since arriving on the street, however, Lorraine has written two Blazing Salads cookbooks and charmed the world with her philosophy that food must not be “made with anger”. She tells her staff to leave their anger behind when they come to work. Recently Lorraine’s brother Joe branched out to build a wood-fired oven in the Cloughjordan Eco

Village, North Tipperary, where he produces the sourdough, spelt and rye breads sold in Blazing Salads. If you want a healthy lunch in Dublin, this tiny shop is the place to go. 42 Drury Street, Dublin Tel: +353 1 671 9552 blazingsalads.com

The Printmakers Gallery One of the longest established shops on Drury Street, The Printmakers Gallery sells lithographs, woodcuts, screen prints and etchings by nearly 100 artists, the majority of whom are Irish or Ireland-based. It is the fact that prints are a cheaper art form than original oils, pastels and watercolours that has allowed the gallery to survive when other art shops in Dublin went under after the crisis of 2008. Prices range from just 150 euros to 1,500 euros. Featured artists include local talents such as Niamh Flanagan, Brian Maguire, Aoife Scottt and Sinead Wall, as well as printmakers who have settled in Ireland, including Yoko Akino from Japan, Tomasz Knapik from Poland, and Katharine Van Uytrecht from South Africa. 25 Drury Street, Dublin Tel: +353 1 671 4978 printmakersgallery.ie

Super Miss Sue The latest culinary hotspot on Drury Street is the brainchild of John Farrell, a young Irish food entrepreneur who grew up in South Africa and who has made quite an impact in Dublin since his return to the Old Country. Before Super Miss Sue, John created 777, Dublin’s only Mexican dive bar-diner where he paid as much attention to design as to the food. 777’s ceiling was shipped over from a derelict house in the US state of Georgia, and John commissioned the ceramic tiled “prison art” from a factory in Bogota. Super Miss Sue by contrast is bright and white and focused on fish and seafood.

There’s a chippie, preparing fish in a homemade beer batter and chips to order, an oyster bar and a fish restaurant – all spread over two floors. John named Super Miss Sue after an old fishing boat, but all around the restaurant you can see images of Miss Sue herself; John employed Rozanna Purcell, Miss Universe Ireland 2010, to pose in a bikini as Sue while one of his managers donned a deep-sea diver’s suit, and the result has become the restaurant’s signature artwork. Units 2-3 Drury Street Car Park, Drury Street, Dublin Tel: + 353 1 679 90 09 supermissue.com

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the street

Drury Buildings Declan O’Regan is the restaurateur behind the conversion of a derelict office block on Drury Street into one of Dublin’s trendiest places to drink. Declan’s venues are always high on concept, and he is acknowledged as the “secret designer” behind all his clubs and pubs. With his brother, Hugh, Declan started off creating a number of authentic Irish pubs in the nowfamous Temple Bar area of Dublin. He then branched out on his own, purchasing Hogan’s, a public house on South Great George Street (running parallel with Drury Street) and building a boutique hotel, Kelly’s, above it. Big Dec also created the French-style bistro l’Gueuleton in Fade Street and The Bar With No Name, which can only be located by a large carved wooden snail hanging over the door. For Drury Buildings he imported a containerload of old New York bar fittings, floorboards and church pews to create what he calls a “distressed New York brasserie look”. 52-55 Drury Street, Dublin Tel: +353 1 960 2095 drurybuildings.com

Irish Design Shop Jewellers Clare Grennan and Laura Caffrey took over this dress shop last year and had it redesigned to reflect the products they sell. There are a lot of wooden items, from timber toolboxes made in Connemara to hand-turned “twig pots” made using native hardwoods in Sligo. The shelves in the shop’s window were specially made for Clare and Laura from some of Dublin’s re-claimed original Georgian floorboards. Concentrating exclusively on modern Irish design, the shop sells hand-blown lampshades from Waterford, hand-knitted

scarves and hats, design books, Celtic brooches, Irish greeting cards and medallions created using 3D printers. Many of the 50 producers design items exclusively for this tiny but influential boutique. On the floor above a number of Irish jewellers – Christina Keogh, Lloyd Breetzke and Pierce Healy – have studios, and their work is available to purchase in the shop. Moreover, at weekends Laura and Clare hold jewellery workshops upstairs, which are particularly popular with couples who sign up to make their own wedding rings. 41 Drury Street, Dublin Tel +353 1 679 8871 irishdesignshop.com

Cocoa Atelier It was a brave decision by Marc Armand and his Irish wife to open a luxury chocolate shop in 2010, when Ireland’s crisis was at its most painful, but the success of Cocoa Atelier has proved that even in the worst of times Dubliners retain a sweet tooth. Armand is French, but he knew that per head the Irish are the biggest eaters of chocolate in the world after the Swiss. Cocoa Atelier’s range of pralines and ganaches use Irish butter and cream and ambitious fillings such as lime rind and freshly grated ginger. All the chocolates are made and decorated by hand in the couple’s chocolate lab, 20 minutes away from Drury Street. Cocoa Atelier also runs pop-ups in a number of Dublin department stores in the run-up to special events such as Valentine’s Day, Easter and Christmas, and Armand is in talks to expand to Dubai. 30 Drury Street, Dublin Tel: +353 1 675 3616 cocaaatelier.ie

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skypod

MARKO MARKOVIC Genre: Balkan brass AGe: 26 TOWn: Vladicin Han

Marko Marković , Boban And Marko Marković Orchestra trumpeter and arranger, shares his favourite tracks

01.

02. 03. 04.

Michael Jackson Thriller

Duke Ellington Caravan

Tose Proeski Boze, Brani Je Od Zla

I remember trying to imitate his dancing. Many vases and decorative figurines suffered before I finally realised that I couldn’t dance.

I enjoy the eastern melody and atmosphere, not so typical for American jazz musicians. For some reason it makes me feel like a child again.

It means ‘God Save Her From The Evil’. Tose was a young Macedonian singer – for me the best Balkan singer of all times.

Louis Armstrong What A Wonderful World I know it’s a cliché, but Lous Armstrong has been my idol since forever. This song is my antidepressant.

05. 06. 07.

08.

Arturo Sandoval And Then She Stopped

Andrea Bocelli Nessun Dorma

Saban Bajramovic Djelem Djelem

Stevie Wonder Free

A Cuban trumpeter, and one of my all time favourite musicians. The way he plays is inspirational for me in so many ways.

I had a chance to listen to Bocelli live in Belgrade. He hypnotises me with his voice. I could listen to him singing cookbook recipes.

The absolute king of gipsy music. This song is classic, but the way Saban sings adds extra magic. For me it’s a hymn.

This song means the world to me. A simple but glorious way to explain the meaning of life.

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bobanimarko.com


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the Room

TExT: GArETH rEES ImAGES: INIALA BEACH HOUSE, PHUKET

THE BOUDOIr, COLLECTOr’S VILLA

INIALA BEACH HOUSE, PHUKET

Iniala Beach House, the brainchild of wealthy philanthropist Mark Weingard, is located on Natai beach on the Andaman Sea, and it is undeniably impressive. Boasting three villas – each featuring three rooms, all by different designers – and a large penthouse, courtesy of British designer Graham Lamb, Iniala also comprises a pop art-inspired gym and a two-storey building with a children’s hotel upstairs and a bar-games room downstairs, while guests can also enjoy their own chef, spa therapist and driver. The resort’s signature restaurant, Aziamendi, offers a menu created by Spanish chef Eneko Axta, whose Azurmendi restaurant in Spain’s Basque region has three Michelin stars. The Boudoir suite, dreamt up by the celebrated New Zealand designer Mark Brazier-Jones, is not for everyone, but in keeping with the spirit of the resort, its eccentric steampunk aesthetic is unique. Opening onto the pool in front of the Collector’s Villa, the room offers little privacy with the curtains open but when they are drawn it is a sanctuary from the sun, fellow guests and the outside world. Dark, mirrored and containing a freestanding Victorian-style copper-plated bath, as well as furniture designed by Brazier-Jones, including a distinctive Harley Davidson drinks trolley, it is not easily forgotten. iniala.com

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INTERNET: Free Wi-Fi PILLLOWS: 4 (more available on request) BED SIZE: King size COMPLIMENTARY SNACKS: complimentary minibar TOILETRY BRAND: Iniala’s own brand EXTRAS: Personal chef TV CHANNELS: Unlimited VIEW: 3/5 RATE: US$25,000 for three nights in the three-suite Collector’s Villa (maximum capacity: six). Ten per cent of room revenues and five per cent of all other revenues from your stay will go to Weingard’s Inspirasia Foundation, funding health and education projects in South East Asia


Bold.pdf

THREE NEW HOTEL OPENINGS

LEONARDO HOTEL Berlin, Germany

Located on the banks of the River Spree, this tenstorey construction designed by architect Eike Becker is a behemoth of glass and metal containers stacked on top of each other. The property has 310 rooms and a wellness area with a gym and sauna. The in-house restaurant, Vitruv, is a Mediterranean-themed venue with “Asian accents”. All rooms have tea and coffeemaking facilities and flat-screen TVs. leonardo-hotels.com

PARK HYATT VIENNA Vienna, Austria

Park Hyatt Vienna is housed in a 100-year-old listed building situated in Am Hof Square, part of Vienna’s First District, which is a Unesco World Heritage Site. There are 143 rooms, a spa and fitness centre complete with an indoor pool and The Bank restaurant. The Park Hyatt Vienna is the first Hyatt hotel in Austria. vienna.park.hyatt.com

SEA SENTOSA Bali, Indonesia

Sea Sentosa is a collection of one- and two-bedroom oceanfront suites on Echo Beach in Canggu, Bali. The area is home to world-famous surfing beaches and the complex has a selection of restaurants, a beach club and its own 24-hour medical centre. seasentosa.com

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10:07 AM


consume alBums

LAZARETTO Jack White

Blues/rock Jack White will release the follow-up to his first solo effort, 2012’s Billboard 200 number one hit Blunderbuss, on his own Third Man Records. White released a four-minute instrumental track, High Ball Stepper, on YouTube in April.

ANIMAL AMBITION 50 Cent

Rap/R&B The build-up to the US rapper’s first album release since leaving Eminem’s Shady-AftermathInterscope label has seen individual tracks appear online for download on a weekly basis since March 18.

48:13 Kasabian

Indie-rock The British indie-rocker’s fifth studio album follows 2011’s number one hit record, Velociraptor!. The first single from the album, Eez-eh, will be released a week before 48:13.

METEORITES Echo And The Bunnymen

Pop/rock The veteran British rockers’ first release since 2009’s The Fountain, produced by Killing Joke’s bassist, Youth, is their 12th album. The band will embark on a world tour for the record.

Books

MR MERCEDES Stephen King

Crime thriller Stephen King’s first detective novel sees a Mercedes driver commit a multiple hit and run, killing eight people and drawing detective Bill Hodges out of retirement to catch the killer.

THE FLYING CARPET TO BAGHDAD Hala Jaber

memoir The true story of Hala Jaber, a Sunday Times journalist who was sent to Baghdad as a war correspondent but found herself on a quest to adopt two orphan girls.

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BRANDO’S SMILE Susan L Mizruchi

Biography Mizruchi’s bigraphy of Marlon Brando sets out to portray the actor in a new light, as a book collector, an Indian and civil rights activist and a scriptwriter.


consume THE RECORD SHOP

Eardrum Buzz

record collector / Eardrum Buzz owners Rutger Kruijer and Arjen Poelhuis are confident that vinyl has a bright future

You only sell vinyl. Why did you choose to specialise? Records are beautiful and have charm and charisma. They also sound great. The act of putting on a record and listening to it is something nothing can compete with. Digging through vinyl is a lot more fun and organic than downloading or streaming music. Going to a store is also a social thing. You can meet people who share the same interest as you. You can learn and get inspired. You don’t get that via a computer. What kind of people does the shop attract? We have a guy coming in who only buys UK stuff, because he finds the sound quality better than pressings from any other country. There is also an elderly couple who only come in for traditional music from Jordaan, which is the neighbourhood we’re next to. Most people are really into one genre such as soul, funk or hard rock. We’re lucky that the scene here is really good. There are at least 10 independent record shops in the city centre, as well as the bigger chains. How do you compete with such healthy competition? We help people build a collection by putting together a pile of records that are good – but not expensive – as a starting point, with different genres and some classic albums in there. We sell unique handmade vouchers made out of record sleeves you can buy as a present. We like to think the shop is also modestly priced compared to a lot of other stores, and we are always polite and happy to see someone coming in. We opened at the beginning of 2013, after selling records online since 2012. We had a great opportunity that we couldn’t resist: a small but lovely place in one of the best parts of town. How has the location helped? We are near Amsterdam Central Station, and the neighbourhood has many speciality stores, which makes it very attractive for people to shop around here. We are also on a main route towards Amsterdam West from the centre, so there’s always a lot of traffic. A few hundred metres away is Amsterdam’s most beautiful park, The Westerpark. So you get a lot of passing trade as well? Yes – all kinds of people. From those who have been collecting all their lives to tourists who are interested in vinyl. We also share our space with a hair salon. They are upstairs and we are in the basement. So before or after shopping for records it’s possible for our customers to pop up there and get a new look. Will file sharing ever put an end to independent record shops? We believe that people still want to buy music. The demand for CDs and digital downloads seems to have dropped permanently, but there have always been people who collect vinyl, and their numbers are growing. A lot of young people who are just starting out and building their collection are coming in, so the potential is really big. eardrumbuzz.nl

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ImAgEs: EARdRum Buzz

Haarlemmerplein, Amsterdam, Netherlands Questions: Ryan Heeger / Answers: Owners of Eardrum Buzz, Rutger Kruijer and Arjen Poelhuis


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A Sense Of Highness


BLD

London

IMAge: JASON ATHeRTON

Jason Atherton, renowned Michelin-starred chef and restaurateur, reveals his favourite places to eat in London

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B

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BREAKFAST

LUNCH

DINNER

For a breakfast treat I love the Wolseley. Its opulent setting and consistently good quality breakfast is hard to beat. Without a doubt my favourite breakfast dish here is the Welsh rarebit, which is the classic British savoury in my opinion. But I have to mention my love of their black pudding with duck egg. It is decadence on a plate and really is a guilty pleasure of mine. I normally try to eat relatively healthily, but that’s always a treat. There is plenty to choose from on the menu, though, and I would recommend booking, as it is a popular spot.

Barrafina is one of my favourite places in London for lunch. There is something about the theatre of sitting at the counter watching the staff and chefs prepare the dishes. I love the showmanship of it and the skills on display. Their tapas dishes are full of flavour and I also like the fact that their staff are engaging and highly knowledgeable about every dish. The wine selection is also full of good options that complement the food beautifully. I have never left Barrafina disappointed, which is testament to their professionalism and obvious love of food and drink.

For dinner my top London choice is The Ledbury. Attention to detail here is second to none from the moment you walk in the door; from the immaculate staff to the quality, creativity and consistency of the food all the way to the beautiful setting. Dishes vary according to the season, but look out for crapaudine beetroot baked in clay with smoked eel and dried olives or Cornish turbot with brassicas, chopped oysters and sake. The Ledbury is a real treat and one I’d highly recommend for a special occasion. In fact, don’t wait for a special occasion, just get there and enjoy the whole experience.

The Wolseley 160 Piccadilly, London Tel: +44 (0) 20 7499 6996 thewolseley.com

Barrafina 54 Frith Street, Soho, London, barrafina.co.uk

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The Ledbury 127 Ledbury Road, Notting Hill, London Tel: +44 (0)20 7792 9090 theledbury.com


mapped 16 13

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National Monument (Monas)

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Selamat Datang Monument

10 03

Jl Tol Cawang Grogol Jl Sultan Agung

Jakarta

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07

06 06

Jl Casablanca

08 11 Trunojoyo

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04

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09 14

Jakarta

Hotels: 1) The Dharmawangsa (-6.253144 , 106.804884)

Restaurants: 5) Cork & Screw (-6.193411 , 106.821895)

Bars 9) Colonial Cuisine & Molecular (-6.273796 , 106.808849)

Galleries and Museums 13) Galeri Nasional (-6.178226 , 106.83212)

Considered the cultural and economic hub of Indonesia, cosmopolitan Jakarta certainly has a lot to 14) BIASA ArtSpace Jakarta 6) Riva, Grill Bar & Terrace 10) Cloud Lounge & Living Room who are eager to explore the city’s vivacious(-6.192907 and eclectic offerings. This bustling, (-6.224484 , 106.839898) , 106.821718) (-6.259953hot , 106.815055) and humid locale has rapidly expanded over the past decade, and the pace shows no sign of slowing. 11) LUC Bar & Grill 15) Art:1 3) The Ritz Carlton Jakarta, Pacific Place 7) AMUZ Gourmet full advantage of the(-6.226089 fantastic food, stylish hotels and seriously good shopping by venturing far (-6.223902Take , 106.810026) , 106.806518) (-6.239039 , 106.808205) (-6.147147 , 106.840126) and wide in this unique and contrasting metropolis. 2) Kemang Icon by Alila offer visitors (-6.255594,106.814991)

4) Keraton at The Plaza (-6.192198 , 106.821619)

8) Bistronomy (-6.235592 , 106.812032)

12) Parc 19 (-6.255927 , 106.81027)

16) Museum Nasional (-6.176163 , 106.822418)

HOteLs

restaurants

bars

GaLLerIes

01. the Dharmawangsa Jakarta 02. Kemang Icon by alila 03. the ritz-Carlton Jakarta, Pacific Place 04. Keraton at the Plaza

05. Cork & screw 06. rIVa Grill, bar & terrace 07. amuz Gourmet 08. bistronomy

09. Colonial, Cuisine & Molecular 10. CLOuD Lounge & Living room 11. LuC bar and Grill 12. Parc 19

13. Galeri nasional 14. bIasa artspace Jakarta 15. art: 1 16. Museum nasional

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mapped

HOteLs 01 The Dharmawangsa Jakarta Situated in the leafy upscale neighbourhood of Kebayoran Baru, The Dharmawangsa celebrates the rich artistic and cultural heritage of Indonesia within its palatial walls. the-dharmawangsa.com 02

Kemang Icon By Alila If you’re looking for an avantgarde fusion of chic aesthetics and hi-tech mod cons then this hotel will surpass expectations on both accounts. Rooted in one of Jakarta’s most upscale areas, Kemang Icon offers contemporary interiors, clean lines and pioneering architecture. alilahotels.com/kemangicon 03 The Ritz-Carlton Jakarta, Pacific Place In Jakarta’s commercial district, The Ritz-Carlton’s Pacific Place hotel offers visitors a dose of luxury with generously sized rooms, a sumptuous spa and access to some of the best shopping and entertainment destinations in the city. ritzcarlton.com/en/Properties/ JakartaPacificPlace 04 Keraton At The Plaza In the heart of the business district, this stylish high-rise hotel will win you over with the view alone. Take in the cityscape through floor-to-ceiling windows, swim in the infinity pool and enjoy five star dining. keratonattheplazajakarta.com

CAPITAL CITY / In the past decade Jakarta has blossomed into a truly modern metropolis

restaurants 05 Cork & Screw Offering one of the largest wine lists in the country, Cork & Screw is the leading destination for wine lovers. With an extensive selection of more than 300 bottles, this stylish restraurantwine bar comes with high accolades, including the 2013 Wine Spectator Award of Excellence. corknscrew.biz 06 Riva Grill, Bar & Terrace The all new Riva, Grill Bar & Terrace at the Park Lane Hotel takes al fresco dining to new heights with, not one, but two outdoor terraces,

02

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both offering stunning views of Jakarta’s lively street scenes and the luxury lagoon-style pool. rivagrillnbar.com 07 Amuz Gourmet A premier fine dining destination and a magnet for serious foodies, Amuz Gourmet offers a taste of France in the heart of Jakarta’s bustling business district. Chef Gilles Marx brings 20 years of French culinary experience to the menu and the city’s restaurant scene. amuzgourmet.com 08 Bistronomy Bistronomy is located behind an unassuming green doorway in the southern neighbourhood of Kebayoran Baru. Cross the threshold and you’ll find a stylish dining space filled with eclectic furnishings and a delicious combination of eastern and western-inspired dishes. facebook.com/Bistronomy.JKT

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mapped

GaLLErIEs

bars 09 Colonial, Cuisine & Molecular The self-confessed molecular mixologists at the Colonial invite guests to come and sip strangely inviting cocktails from test tubes and conical flasks, in surroundings that echo Jakarta’s fascinating past. colonial-jakarta.com 10 Cloud Lounge & Living Room High altitude dining and drinking is what this place does best. Housed on the 46th and 49th floors of the unique Plaza building in the centre of Jakarta, drinks are served up alongside 360° views of the city. facebook.com/pages/CLOUDLounge-Living-Room

12 Parc 19 The rustic allure of Parc 19’s interiors creates an air of sophistication that blends perfectly with the innovative cocktail list – the Medical Mojito and the indulgent Toblerone Chocotini are well worth sampling. parc19.com

15 ART: 1 ART: 1 is a place to both learn about and enjoy art. Devoted to contemporary artwork from an array of Indonesian artists, the museum-gallery is also the first of its kind to run public programmes and workshops. facebook.com/art1.mondecor 16 Museum Nasional This museum is probably the most notable of them all in Jakarta. Established in the 1800s, today it houses many collections from all over the world and remains one of the most significant cultural institutions in the region. museumnasional.or.id

11

Luc Bar And Grill If you like your whiskey then you’ll love LUC’s. With a tagline that proclaims, “meat for your health, whiskey for your soul”, LUC’s is the whiskey emporium of Jakarta and houses a vast range of aged and rare bottles. lucjakarta.com

14 BIASA ArtSpace Jakarta BIASA ArtSpace is a strong supporter of the burgeoning Jakarta arts scene and has given many local artists the opportunity to display their work in their home city. The sleek space continues to attract visitors in their droves, eager for a new cultural education. biasaart.com/biasa_artspace

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WORDs:hG2.COm imaGes: CORbis

CULTURAL HUB / Jakarta boasts a number of highly regarded galleries, including Galerie Nasional (above)

13 Galeri Nasional The best place to visit in order to fully embrace Jakarta’s vibrant arts scene, Galeri Nasional houses an abundance of artefacts from artists all over Indonesia and even displays works from as far afield as Russia, Sudan and Peru. galeri-nasional.or.id/en


LOCAL KNOwLEDGE

Emirates Hydroponics Farms

A blend of businessman, scientist and farmer, Rudi Azzato, the driving force behind Emirates Hydroponics Farms, is dedicated to producing quality vegetables in the UAE’s desert climate

E

xamining a handful of sandy UAE soil, it seems nearly impossible that anything besides date palms could grow green and tall here, or at least without wasting gallons and gallons of water, a commodity arguably

Words by Danna Lorch / Images by REM

more valuable than gold. The supermarkets seem to agree – push a shopping trolley through the produce section and it’s common to find apples from South Africa, lettuce from Iran and cherries from the USA – all marked at a steep price to cover the import costs of keeping food

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fresh and safe for consumption on their long international journey. But it might not be crazy talk to imagine a time in the not too distant future in which the majority of the crops needed to nourish the region’s population will actually be grown costeffectively in the Gulf.


LOCAL KNOwLEDGE

EVERGREEN / Emirates Hydroponics Farms is able to grow fresh produce year round, despite the desert climate

Situated halfway between Dubai and Abu Dhabi, in the sleepy desert village of Al Bahia, is Emirates Hydroponics Farms, a farm that has adapted modern technology from Holland to the arid UAE climate, and is actually able to grow fresh produce year round in an environmentally conscious way. The brains behind

it all, Rudi Azzato, greets us in a sharp tie and dress shoes. It’s an unlikely look for a farmer, but as soon as Rudi begins to speak about the place to which he has devoted the last nine years of his life, picking up heads of lettuce to inspect the roots as he strolls through his domain, it becomes obvious that he is not afraid of

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getting his hands dirty, literally. Rudi manages a staff of just 24, which efficiently works 20,000 square metres. Traditionally farming is regarded as a humble career path, a fourth or fifth choice for those who can’t be engineers, computer scientists or lawyers. Perhaps by wearing professional attire, Rudi is subtly demonstrating


LOCAL KNOwLEDGE Our farm has different setups sO that, regardless Of the weather, sOmething can be grOwing all the time that agriculture is a true science, requiring a university education and a profitable sector deserving of consideration. In his lyrical Australian accent, Rudi begins with a simple definition. “Hydroponics means that we grow our produce in a thin layer of water above the ground,” he says. “The medium that we use varies. Our farm has different setups so that, regardless of the weather, something can be growing all the time. We’re always experimenting to find what works and what needs improving in this climate.”

The farm specialises entirely in leafy greens, harvesting herbs and eight to 10 varieties of lettuce – the mainstays being Boston, Frisee and Lola Rosa. Most of the lettuce is cultivated outdoors on unique A-frame stands, which are equipped with a watering pipe that regulates the amount of nourishment the plant requires depending upon the conditions. Rudi is quick to explain that there is nothing wasteful about this. “We use about 300ml of water (that wouldn’t quite fill a Coke can) to keep a head of lettuce alive,” he says. “If you had that same plant in the ground here in the UAE, the soil would first need to absorb the water before any of it provided nutrients to the plant’s roots. It would take three or four litres per day.” He adds that about 90 per cent of the water that is used is recycled and reused. Seeds sourced from Europe are planted in a natural base, rather than in soil – in the case of lettuce, this is a product derived from

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volcanic rock that when moistened feels a bit like building insulation – and this base can be easily moved. Rudi has found that “It will take a head of lettuce 50 days to reach ripeness, whether it is in the ground or above ground in a hydroponics setup, but the advantage here over traditional farming is that we are able to pick the plants up and move them around to achieve a much higher crop cycle each year”. Next we enter a large tent covered in netting to prevent insects from feasting on a banquet of produce. Inside, three long troughs display neatly set rows of fresh basil in several varieties. The leaves are so flawlessly formed that the plants almost look artificial, and the aroma is overwhelming – like an al fresco pesto lunch in Italy on a spring afternoon. Are we really in the Middle East? The hot GREEN FINGERS / Rudi Azzato might wear a tie, but he’s not afraid to get his hands dirty


LOCAL KNOwLEDGE

AN EDUCATION / Azzato is proud of what he and his team have achieved and conducts student tours of the farm

(but nutritionally ambiguous) buzzword ‘organic’ comes up next. Conscious eaters are often very concerned about pesticides, and the farm sometimes grows crops without the need for herbicide. However, if it’s a rainy year, the crops grown outdoors, such this basil, are often threatened by fungus, so a small amount of chemicals are required to keep the produce safe for eating. The next greenhouse sports a cooling pad that resembles corrugated cardboard. At the opposite end of the structure several fans whir away. In combination, the two apparatuses lower the temperature naturally and effectively, even on a humid day. Rudi acknowledges that the pricing on crops grown this way is higher than what non-hydroponic farms charge for local produce.

“Initially we did have some trouble educating consumers that what we have is very different from traditional farming, but I’m happy to say that over the years the clients have come to really appreciate our quality and that we achieve a pretty competitive price.”

My kids actually coMpete to see who can eat More vegetables Certainly the prices are cheaper than what it costs to import artisanal French lettuce varieties for consumption. Gorgeous bunches of parsley are packaged ready to be loaded onto trucks to zip off to clients, including wholesale distributors catering to hypermarkets, upscale restaurants and airlines. Inside the last of the enclosed greenhouses, it’s rare that chemicals of any kind are required.

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The plants are grown off the ground, away from insects and inclement weather. Rudi frequently takes groups of students for tours, and gets a glimmer in his eye as he recounts the city kids’ faces as they begin to understand where the food that they put in their bodies actually comes from. We’re standing with our mouths slightly open at this point, admiring a rotating growing system that closely resembles a carnival carousel. Instead of cars, there are troughs planted with flourishing herbs. As the carousel circles, each trough is in turn exposed to optimum light, water and air. Rudi and his wife live in a villa on the farm’s grounds with their two young children, who sometimes help out with the school tours. The proud papa delights, “My kids actually compete to see who can eat more vegetables. They know all about hydroponics.” In a country with a high rate of diabetes and heart disease, this is real progress. emiratesfarms.com


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COPYCAT BUILDINGS

Architecture writer Christopher Beanland explores our obsession with building replicas of beloved classic buildings Words by Christopher Beanland

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london calling / Not far from Shanghai, in the Songjiang District, Thames Town is a replica of a traditional English market town

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opycat buildings are an architectural cover version, the bricks and mortar and steel equivalent of a Pink Floyd tribute act – instantly recognisable and oddly intriguing. And we’re becoming increasingly enamoured with them. Look up in many parts of the world, and you can’t be certain where you are – especially when it comes to one of the most copied buildings of all time, the Eiffel Tower. We’re not just seeing double – we’re seeing multiple. As

well as being in Paris, you could be in Orlando – where there’s a copy of the Eiffel Tower at Disney World’s Epcot World Showcase; you could be in Las Vegas, where there’s a copy at the Paris Hotel; or you could be in Tokyo, where the Tokyo Tower is only slightly different from the original. You could equally be at the quirky copies of the Eiffel Tower in Paris, Texas or even Paris, Tennessee. You could also be in Romania, Spain, Russia or Greece, where there are further bonkers versions of Gustave Eiffel’s singular

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original, some of which are almost comically clumsy in their endearingly slapdash rendering. You could even be in China, where this kind of duplicate hat tipping is a good-natured obsession. There’s Little Paris – with its Eiffel Tower – at Tianducheng in Hangzhou, Thames Town (a copy of London), and even a US$1 billion copy of the entire Austrian Alpine village of Hallstatt, parachuted into Guangdong Province. Just as we strain to hear the greatest hits at a tribute gig, we


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love to see a favourite Mahal to the Leaning SometimeS building repeated Tower of Pisa, the in three dimensions the need to Pyramids of Giza – and because the to the Alexandria recreate Eiffel Tower is so Lighthouse – and buildingS popular now (though yes, there’ll be an it wasn’t when it comeS from Eiffel Tower, too. was built in 1889) Dubai recently got Something it appears over and the Al Yaqoub Tower, over again, around a quirky ‘tribute to’ primal the world. The Eiffel London’s Elizabeth Tower was a symbol Tower (you’ll of progress. Building probably think of it as copies of it turns ‘Big Ben’, but that’s this sci-fi structure from hi-tech actually the name of the giant bell to twee, but then we humans are behind the clock face). more comfortable with something Sometimes the need to recreate we know than something we buildings comes from something don’t. That’s why we sketch out primal. If the original has been projects such as Falconcity in flattened, or is in disrepair, why Dubai, which aims to build huge not construct one that shows copies of everything from the Taj people what the building would’ve

looked like? That’s why the city of Nashville, Tennessee built an exact copy of Athens’ Parthenon, and why London is mulling a replica of the famous Crystal Palace, which was destroyed by fire (the funders of the latter are, incidentally, from copycat-mad China). At other times it’s all just a bit of fun. The new Wizarding World of Harry Potter theme park in Florida will feature a huge copy of London’s King’s Cross Station – the location, as all muggles know, of Platform 9 ¾ – where Harry takes his train to Hogwarts. The last time I was in the real Kings Cross Station, the queue to have a photo taken where the station has mocked up its own magical Platform 9 ¾ almost snaked out of the doors and into the street. At

classic inspiration / Dubai’s Al Yaqoub Tower is inspired by London’s Queen Elizabeth Tower

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I S TA N B U L


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theme parks all around the world famous buildings are fabricated and cities recreated – it’s a chance to experience somewhere you might not otherwise get to visit. Vegas is the apotheosis of this postmodern condition – of mixing and faking. Fewer Americans than you think have travelled the world, and for them the chance to eat by a fake Grand Canal at the Venetian or eat in a gaudy mock-up of Ancient Rome at Caesar’s Palace is a boon. But then, in Vegas, everything you see (and everything you eat) is fleeting and elusive; not quite real and not quite what it says it is. One of the best and most brazen counterfeits ever was the replica of Notre Dame du Haut chapel, Ronchamp, France, which was built in Zhengzhou in China in the 1990s. It was a perfect copy of one of the Swiss architect Le Corbusier’s masterworks – and

Burj Khalifa? Will we it was so good that All Around see fake versions of the Le Corbusier Zaha Hadid’s Heydar Foundation took the world Aliyev Center in Baku, exception to it and fAmous or Frank Gehry’s Walt forced the authorities buildings Disney Concert Hall to raze it. It was a in Los Angeles? playful and bizarre Are Buildings that go tribute to one of the on to be counterfeited key concrete buildings fAbricAted are the ones that of modernism. As really capture our with the Eiffel Tower, imagination – the onecopying it tells us offs, the individuals, some very strange the weirdos. Every building has things about ourselves. We are, in the opportunity to be unique and a way, apeing another era – an era to return to us in our dreams, but of progress. When we build copies architects and developers seldom of great buildings from the 20th seize the golden opportunity given century or from Ancient Greece to them. Perhaps we’re building we’re admitting that we don’t more copycat buildings today have the same vision and the same boldness that previous generations because we lack imagination? Or maybe we’ll simply always want of thinkers and builders did. to hear the hits and, likewise, to Which buildings from the 21st see facsimiles of classic buildings. Century will be copied in theme Imitation is, after all, the sincerest parks in 100 years time? Will we form of flattery. see duplicates of The Shard or the

perfect copy / This exact replica of the Parthenon in Athens is located in Nashville, Tennessee

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Pelé’s World Cups We speak to the greatest footballer ever ahead of the 2014 FIFA World CupTM in his native Brazil

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OUR MAN IN: Former football star David Ginola’s Paris pOp-Up chRIstchURch: The city’s innovative response to the 2010 and 2011 earthquakes the RevOlUtIONARy IN A bROOks bROtheRs sUIt: The story of music producer John Hammond

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O n e O f t h e g r e at e s t p l ay e r s e v e r t O grace a fOOtball pitch – pelé needs n O i n t r O d u c t i O n. b u t, 37 y e a r s a f t e r h e p l ay e d h i s l a s t game fOr the new y O r k c O s m O s, a s h i s n at i v e b r a z i l p r e pa r e s t O h O s t the wOrld cup – a t O u r n a m e n t t h at m a d e h i s n a m e – i t’s w O rt h r e m i n d i n g p e O p l e t h at t h e r e wa s m O r e t O h i s career than just the impressive s tat i s t i c s

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elé signs a lot of autographs. This is not particularly surprising, considering the Brazilian is widely regarded as ‘the greatest footballer ever’, but we’re talking a lot of autographs. Asked how many he signs in an average day, Pelé releases a throaty chuckle and says it depends where he is; considering that this is a man who has spent his life traversing the globe to promote numerous things – himself, his films, various products,

his country and the game he loves – it’s safe to say that he’s usually in a location where signing autographs is likely. Having spent an hour or so before our chat signing endless shirts and scraps of paper for anybody in the overcrowded room who asked, he is still signing numerous copies of our cover with a smile on his face. Pelé is used to it. He recalls a period in the mid1970s, when he was playing for the New York Cosmos, during which he often addressed large auditoriums of students, revealing that he

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regularly “stayed there for two or three hours to sign for the kids”. Pelé played his last game for the Cosmos in 1977, and 37 years later, he’s still happily producing his distinctive looping signature for anybody who places something signable in front of him. That is a lot of autographs. But Pelé doesn’t complain, at least not in front of an audience. Does he enjoy it? Even if he doesn’t, he expects it – it’s all part of being Pelé, a job he has been doing since he won the World Cup with Brazil in 1958 at the age of 17. Pelé’s autograph count is high, no doubt, but this is a man who is no stranger to impressive figures: 17 (the youngest player to play in a World Cup final), 650 (the number of goals he scored for his club teams, Santos and the New York Cosmos, in just 694 appearances), 767 (goals scored in 831 official games), 1,282 (goals scored in all of his 1,366 games) and 77 (goals scored in his 92 appearances for Brazil, including 12 celebrated World Cup goals). Most impressive of all is three – the number of times Pelé played in a World Cup-winning Brazilian team (1958, 1962 and 1970). When we meet in Dubai, Pelé is 73 years old – but dressed in a well-tailored grey suit, a grey tie, a freshly pressed light blue shirt and shiny black wingtips, he could pass for late fifties. He is not far from as trim as the day he stepped off the pitch, his skin is barely wrinkled (a surprise considering the amount he laughs during our 30 minutes together), he has all his hair (not a touch of grey), he moves with ease and, as he takes a seat on the sofa, leans forward, brushes a few imaginary crumbs from his trousers and readies himself to talk, his eyes are as bright as a teenager’s. Talking about the beautiful game, especially his beloved World Cup, is not, it seems, a chore, even for a man who has spent his life talking about football.


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people of BrazIl expect the team to wIn In 1958? This I cannot tell. Of course, after losing in Brazil, this [tournament] was outside of Brazil. For me to say how people felt is difficult, because I was with the team. At that time, in Brazil, we didn’t have what we have now; communication was very different, you would have to send a letter, and it would take 15 days. What I mean to say is, I was just thinking about being in the team.

It’s 1958 and you’re standIng on the tarmac at the aIrport wIth the rest of the BrazIlIan team waItIng to fly to your fIrst world cup In sweden. how do you feel? It’s difficult to say how I felt, because I was a youngster. I was 17 years old, it was a dream for me – it meant everything to be there. It was something special, you know. That’s how I felt. I never expected to be with the national team of Brazil at 17 years old. I was completely in the moment, but it was a fantastic start to my career.

It certaInly was, But If you could go Back and gIve yourself a BIt of advIce, what would you say to the 17-year-old pelé? Advice to myself? [Chuckles] As I told you, it was like a dream. The only way I can think to put it, maybe, so that people understand: my father was a soccer player, and I just wanted to be like my father – to play soccer well. One day, I am going to play like my father, but my father never played for the national team, and he never went to the

how dId the team treat you as the youngest player? World cup – at 17, I was there. It was special, but there’s no way to explain why I was there – just God, just God.

as you saId, your father was a footBaller, too, and you looked up to hIm. dId he offer you any advIce Before that world cup? No, [but] we talked at the beginning of my career. My father used to tell me, ‘Listen, you are 13, 14 years old, you have been given a gift by God to play football, but if you don’t stay in good shape, if you don’t train, if you don’t respect the coach, then you are going to lose everything. The gift to play football, you got from God, you did nothing, but now, to be a good player, you must always be prepared. You must train. Never in your life think you are the best.

you have mentIoned In the past that your father crIed when BrazIl lost the 1950 world cup In BrazIl. he was expressIng the dIsappoIntment felt By the entIre natIon. dId the 86

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The way they treated me was like a baby [chuckles]. At that time you had two or three excellent players, Didi, Vavá, but they treated me fantastic – very well. The other players [from the other teams], they didn’t care about the age.

you saId It was lIke a dream. what Is the atmosphere lIke for a player at a world cup? They were different, that first World Cup in Sweden and the last World Cup, in 1970, in Mexico, because I was a young player [in 1958]. I had some very different moments. For example, the second World Cup, in 1962, I was in very good shape, and then Brazil won the tournament, but I didn’t play the last game. I was frustrated, because I didn’t play, but Brazil won the World Cup – that’s fantastic. Then the next World Cup was a big difference – emotional difference. In 1966, in England, we came as the two-time world champions. We were in the house of football. Then Brazil lost, and I got an injury. To me, it was terrible. I was so disappointed I thought I would stop playing. Then you have 1970. In 1970 I was prepared. Santos, my team, were champions, then I said, ‘This is my last World Cup.’ That was so good for me, because it was completely


different to the first World Cup. I was the most experienced player. For me the pressure was very heavy, and Brazil won. 1970 was the best World Cup.

Back to 1958 for a moment. When the final Whistle Went in the final, and Brazil had Won their first World cup, What Was your reaction? My reaction? You can see on TV, on the film. I was crying, I was so emotional. It’s difficult to explain when you have such a big emotion. It was fantastic.

did that experience change you? Of course. It didn’t change my personality; it didn’t change things with my family or Santos. But I came back from the World Cup in Sweden – it was my first time travelling, my

first time on a plane – and I was a different person. I was young, but it was a completely different life.

you must have Been Welcomed as a hero. hoW did that feel? There was a big party, and for the first time I was received in the palace by the president of Brazil – he invited the whole team. It was something different. I wasn’t nervous, but I was very emotional, because people would come up in the street and say hello, passing in their cars, everybody was doing it. It’s difficult to explain.

in 1962 you Were injured, But Brazil Won the World cup for a second time, as you say. then in 1966 you Were injured again and Brazil Were

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knocked out in the first round. you voWed that Would Be your last World cup, didn’t you? Yeah, because beside the fact that Brazil lost the World Cup, I got injured. I had to stay out and Brazil didn’t win the World Cup, it was very tough to understand. Because for us, after 1958 and 1962, Brazil should have been in the final in 1966. Unfortunately I got the injury.

Why did you change your mind and play in the 1970 World cup? I was with Santos, my [club] team. In 1969 I was the best scorer in the league in Sao Paulo, Brazil, Santos were champions. That was four months before [the World Cup]. Everybody started to ask, ‘Are you going to come back?’ I think it was luck, because 1970 was my best year.


Was that 1970 team the best brazil has ever fielded? No doubt. Some people compare the team to [the team in] 1958, because in 1958 we had individual players [who were] very good: Nilton Santos, Djalma Santos, Garrincha, Pelé, Didi, Vava. But as a team, an organised team, 1970 was the best.

You have said in the past that todaY football is so WidelY televised that anYbodY looks like a superstar on a WeeklY basis. Was it the 1970 World Cup that made You a real star, beCause You Were on Colour television? Probably. [Actually] no, no, people got more impressed by my first World Cup, because I was so young and it was the first time such a young player won the World Cup. But to me personally…

You Were named the plaYer of the tournament, but You didn’t sCore the most goals. What makes a great plaYer? is it just a matter of the number of goals he sCores? When you have a player who has the best squad and team, they score a lot of goals, people say this is the best player. No, they scored goals. A centre forward has more chance, more opportunity to score a goal. A player people will remember, Zidane. Zidane is a player who scored with his head, played in the midfield, he scored goals. That is how you can judge the best player. I was like this for Brazil. I used to help in the

midfield. When people are talking about the best player, they never talk about the goalkeeper. They are all forwards. They never say a goalkeeper or a defender, always attack, attack.

there’s no doubting that You Were a great plaYer. hoW important is Your iConiC status? I thank God for giving me the luck and the health. I have to respect people. I am a human, I am a normal person, like everybody, I can make mistakes, doubt. But I asked God to protect me, because I don’t want to make mistakes… this is a big responsibility.

You see it as a responsibilitY. do You ever Wake up and Wish You didn’t have to be pelé? It doesn’t bother me, because this is my life. I have my personality done. Since I was 17 years old it was the same, and I don’t challenge it. I don’t need to challenge it.

do You enjoY the fame? This is my life. I respect people. Some moments I want to stay on the beach just fishing, but thank God to be well known…

You seem to make a point of folloWing the best plaYers. are You ConCerned that somebodY Will surpass You? To me it would be the same if I was playing now in the same way I used to play. I would be Pelé anyway. Actually, now the players are not better than before. In my time we didn’t have a yellow card or a red card, no, today the players are very protected.

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You Were suCCessful at everY level, but You are best remembered for Your World Cup performanCes. What makes the World Cup so speCial for You? Football has a big family in the world. With the World Cup will come big promotion and big income for the country [Brazil], no doubt.

do You miss plaYing? I am very, very happy the way I am. But sometimes I think, for one or three minutes, I think perhaps I can play. In 1974 I was in good shape with Santos, and I was the first scorer in the league, but then I said, if I were invited, I’d say no. After that, no.

if a neW brazilian plaYer emerges at this World Cup and beComes the best in the World, Would You be happY With that? a neW pelé? A new Pelé is impossible, because my mother and my father broke the machine. No new Pelé. But I don’t think in three months from now that there will be any [great] players in Brazil that are 17 years old. Santos has a good team, but for the national team, 17 years old, it would be difficult to appear. But Neymar is the best player for Santos, he is in the national team, he is 22, he could be one of the big stars in this World Cup. He’s a good player. Messi could become like [Diego] Maradona. Ronaldo could be a big star in this World Cup. We have Neymar. Xavi from Spain, people don’t say too much about Xavi, because they have Messi there [at FC Barcelona], but he’s a good player.


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DAVID GINOLA Former footballer/model/TV pundit, 47

OUR MAN IN…

Paris

Former English Premier League star David Ginola started his career in his native France, and although he now calls London home, Paris still holds a special place in his heart

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first discovered Paris at just 20 years old, in 1988, when I had signed for Racing Paris from Toulon. But after growing up in the south of France, I have to admit, I didn’t know much about our capital city. So you can imagine how amazing I felt when I arrived. I was young, I was driving my first car and I had been handed an opportunity that allowed me the chance to explore one of the most exciting cities in the world. I was just a kid, and this new city that I learned to call home felt huge in comparison to the south of France where I had grown up. Being a sportsman in a city like Paris can be difficult, because it’s full of temptations. I was lucky to have the right people around me, who made sure I stayed on track. As a footballer, when you get to know people and people get to you know, you have access to do so many great things, and my career opened so many doors for me.

By January 1992, after a spell at Brest, I joined Paris Saint Germain. On a match day there would be something like 50,000 supporters coming to Le Parc des Princes. The atmosphere was amazing, because we were in such great form. We won two French Cups, one League Cup, one Championship and played in three semi-finals of three different European Cups. We were definitely one of the best clubs in Europe at that time. While I was playing for PSG, I was living right in the suburbs of Paris near Neuilly sur Seine. When you’re under pressure from both football and the press, you need to get away from your daily life. [My home] was only about five miles away from the city, in a beautiful little village called Saint-Nom-la-Breteche. It was both a pretty and safe location, so it was a great place for my children to grow up. After moving to Paris I think it took me almost two years to visit the Eiffel Tower properly. However,

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LUXURY Living / David Ginola says that his clubbing days are behind him. These days, when he visits Paris, he prefers a night at a luxury hotel, such as the Mandarin Oriental (top left) DATE nighT / A 21-year-old Ginola took a date to Le Jules Verne Restaurant (bottom left) gLoRY DAYs / Ginola in action for Paris Saint Germain, the team he joined in 1992

I do remember taking my girlfriend to the Le Jules Verne Restaurant on the second floor of the Eiffel Tower, because I wanted to impress her. I was just 21. Football and money can bring you opportunities that often people don’t get to experience until they’re much older. It’s experiences like that that make you realise just how lucky you are. Nowadays when I visit Paris I spend time at luxury hotels like the Mandarin Oriental or Shangri-La. They’re great places to have dinner, relax and enjoy a cocktail at the bar. I’m not into clubbing anymore or spending time in a place where the music is so loud you can’t hear people speak. Remember, I was playing football for 20 years and I met lots of people along the way. When I have an opportunity to spend a little time in Paris I like to say hello to my friends and we often reminisce about the past over a plate of pasta. I love to enjoy long strolls through the city to places like Saint Germain de Pres and Monmarte. I’m a big fan of the small villages within the city – and every city has them. You can’t beat a sunny Sunday morning in spring when you’re in Monmarte looking out over the city. If you park your car at the bottom of Monmarte, or jump out of the taxi and climb the steps to the top towards the Sacre Coure, you see the quaint

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IMAGes: GeTTyIMAGes, cOrbIs

little shops, cafés and the painters in the square, it’s like being in a different place. You can’t hear the traffic at all. It’s like you’re miles away from Paris, somewhere in the countryside. Every corner of Paris offers charm and fascinating history. You can go to Champ de Mars and look at the Eiffel Tower, one of the most magnificent monuments you will ever see. Or you can go to the Musée du Louvre and see the mix of modern contemporary architecture in the glass pyramid surrounded by a building hundreds of years old. Whether you’re at Bastille, Invalides or Concorde, all of these monuments represent the history, culture and style of the French people. In Paris these days there are very few Parisian people who have been born and raised in the city. You find people have come from all of the different regions in France and, like many capital cities, it has become more cosmopolitan over the years. One the best typical Parisian restaurants for me is called L’Ami Louis on Rue du Vertbois. It’s very famous and has been there for more than 40 or 50 years. It’s popular with celebrities and even American presidents. It’s a tiny but traditional French brasserie and everything on the menu is homemade. It’s not flashy or expensive, but it’s great traditional dishes like your mum or your grandma made for you when you were a child. You can close you eyes and it takes you back. You need to phone up weeks in advance to reserve a table, but somehow when I phone them and say, ‘Hello, it’s David Ginola’, they say, celebrity haunt / ‘David, how are you? Are One of Ginola’s you coming tonight?’ I favourite restaurants ask, ‘May I?’ And they is traditional French brasserie L’Ami Louis, usually reply, ‘Of course, which is popular with there’s always a table for many celebrities you here.’ I love the traditional city view / If there weather is nice, Parisian service in brasseries around the city. The waiters have been there for many Ginola likes to enjoy a years, they’re so passionate about what they are serving you, they know the menu stroll and admire the inside out and they make great recommendations. view from Monmarte There’s also a fantastic Chinese restaurant called Chez Dave on Rue de Richelieu. MonuMent Man / They close the curtains, because all of the stars go there, too. They serve the most Ginola admires the beautiful dim sum. blend of old and new I wish I could visit Paris more often. It’s so easy to go between London and Paris, architecture The Louvre (pictured) offers because the Eurostar takes you from St Pancras International in Central London to Gare du Nord in just over two hours. Paris is just a beautiful city, magical almost.


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T h e resi de n Ts of C h risTC h u rC h , i m bu e d wiTh an enTerprising enTrepreneurial spiriT, h av e r e s p o n d e d T o earT hquak es i n 2 01 0 a n d 2 0 1 1 q u i C k ly , f i n d i n g i n n o vaT i v e wa y s T o r e b u i l d i T s i n f ra sT r u C T u r e

On Tuesday, February 22, 2011, at 12.51pm, a 6.3 magnitude earthquake struck the Canterbury region of New Zealand. The earthquake was centred 10km southeast of Christchurch, New Zealand’s second most populous city, causing widespread damage. It remains New Zealand’s second worst recorded natural disaster. The 2011 earthquake magnified the damage caused during the September 2010 earthquake. Indeed, it was the unfortunate impact needed to ruin many major and historic Christchurch buildings. A Central City Red Zone (later renamed the CBD Rebuild Zone) was immediately established as a public safety exclusion zone. While the restricted city area gradually diminished as the rebuild took shape, the last of the cordons was not removed until June 30, 2013. Even today, work continues unabated to ensure that all buildings, roads and bridges are structurally safe, especially in terms of being earthquake resistant. This makes driving within the CBD necessarily restrictive – although this, too, is gradually improving. It would be impossible to overstate the transformative impact of the 2011 earthquake upon the city and

inhabitants of Christchurch. Life as it had been no longer existed. People lost their homes, their businesses, their sporting, cultural and religious buildings. A new world dawned, yet much of what was lost could never truly be regained. Yes, the city could, and would, rebuild, but things would be very different. Winston Churchill once remarked that “We shape our buildings, and afterwards, our buildings shape us.” It’s a concept thought up by the Greeks and one that has occupied the minds of many architects and philosophers since. When we think of Paris, London, New York, Dubai or Sydney, particular structural landscapes come to mind – images significant for both inhabitant and visitor. So what happens when that landscape is essentially destroyed? How does a city recreate itself without constantly lamenting all that has been lost? It would perhaps be easy to give up, to lose hope. Yet, Christchurch, wounded and scarred, is a bright, innovative and energetic city that is breaking new and exciting ground. No one could pretend that things have been easy. Yet the ability of Christchurch to respond to the enormity of the challenge before it has been extraordinary.

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Christchurch is proof that adversity can, indeed, generate opportunity. As Cantabrians continue to fight for a positive and productive future, an enterprising new ‘pop-up’ culture has emerged. Many of these temporary businesses have been borne from frustration and determination at the all too often agonising wheels of bureaucracy, or in response to desperate public demand for replacement facilities. The pop-up movement in Christchurch is an important element of restoring a sense of normalcy, and of laying the foundations for permanent solutions. The following six remarkable pop-ups – ranging from sports and religious facilities to shopping, social and food enterprises – provide insight into this exciting movement flourishing in Christchurch.

SmaSh Palace Smash Palace is a family-owned and operated bar on the corner of Victoria Street and Bealey Avenue. It’s not your usual set-up though. In

fact, it’s a novel, popular and temporary bar built around two buses with a chilled out, colourful and flexible atmosphere. If “necessity is the mother of invention”, then much of what has developed since the Christchurch earthquakes is demonstrative of this. Johnny Moore set up Smash Palace after his former bar, Goodbye Blue Monday, was destroyed during the 2011 earthquake. With no buildings available to lease, Johnny fought hard for authorisation, then seized the opportunity to temporarily occupy a vacant site, upon the understanding it be vacated when the landowner is ready to rebuild. Given its practical set-up, Smash Palace can be packed up and moved in just a couple of weeks. Smash Palace has been a rewarding exercise for its owners. It has provided a successful business enterprise as well as a sense of a greater social purpose. Johnny says he is grateful to have experienced the earthquakes and to have been able to give something back.

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Like many Cantabrians, he feels a genuine desire to help rebuild a city he loves. “The bar is a response to the earthquakes – an example of how we pulled up our socks and got on with it,” he says. “It’s a nice snapshot of a place in time.” Smash Palace has a surprisingly broad clientele. Johnny describes it as a “democratic” bar where you’re as likely to encounter “the bloke digging the roads” as the “bloke who has designed the road network”. The bar makes a signature burger with bread baked on site, and Smash Palace hosts events such as Bike Night, offering visitors a chance to experience a latenight taste of pop-up Christchurch. thesmashpalace.co.nz

The Thai ConTainer When the February 2011 earthquake struck, Sokunpavy Seng (Pavy for short) was working at her popular restaurant, Isarn Tha, in the heart of Christchurch. She became trapped behind a refrigerator, unhurt but unable to escape. Fortunately, she was rescued by a patron. To this day, she does not know the name of this heroic gentleman. Pavy’s partner, Rene Bell, also worked in the city. He, too, was amongst the immediate carnage. Pavy and her husband were grateful that they and their three children remained safe. They lost their home and their business, but they were still a family. Whilst their home was insured, the new insurance policy for the restaurant had yet to be signed. Thus, the couple were left outof-pocket and exhausted. Yet, like so many Cantabrians, Pavy and Rene were determined to rebuild. Through sheer hard work, initiative and a positive attitude, Rene and Pavy built a caravan with a commercial kitchen inside. They began serving their high-quality, affordable cuisine from this humble abode on a vacant site at 151 Bealey Avenue. In order to meet increasing demand, a bigger kitchen was soon required. Having endured the earthquake, they were keen for something safe and practical. Hence, the clever use of a 40ft shipping container for their new kitchen. Rene wisely painted a decorative mural over the caravan (now ‘front of restaurant’) and shipping container. The result is a fun and comfortable place to eat superb Thai food. Pavy continues to employ many of her former staff and has earned a reputation for her award-winning fresh spring rolls.

Rene says that, “like anything, we learn to adapt the best we can”. The Thai Container is certainly testament to its earnest owner, Pavy, and reflects the genuine sense of community the earthquake prompted. thaicontainer.co.nz

The TransiTional CaThedral The Christchurch Cathedral was arguably the most significant architectural loss to result from the 2011 earthquake. Indeed, it had graced Cathedral Square since 1864, serving the community as both a place of worship and a venue for cultural events. So how does a city replace something so iconic? The answer came fortuitously, when Christchurch Cathedral marketing and development manager Craig Dixon happened, by chance, upon an article detailing the work of Pritzker Architecture Prize winner Shigeru Ban. Ban has established something of a reputation as a disaster and environmental architect. Dixon identified with Ban’s Paper Dome church in Kobe. He approached Ban, who subsequently designed the groundbreaking Transitional Cathedral, the world’s only cathedral made largely of cardboard. It contains 600mm diameter cardboard tubes coated with waterproof polyurethane and flame-retardants, can hold up to 700 people and has a design life of 50 years. Cardboard is considered an ideal building material since it is readily available, recyclable and surprisingly strong. The Transitional Cathedral, a short walk from the original, sits on the former site of the Church of St John, the latter having been destroyed in the September 2010 earthquake. Unique, bold and innovative, there is an appropriate sense of awe created by what Lynda Patterson, dean of Christchurch, describes as “waves of tubes sweeping in towards the altar”. The original Cathedral – its fate still unknown – was a monument of such scale and grandness to have surely been impossible to replace. Yet Christchurch has created a visionary new structure, a source of fascination, of wonder. It successfully fills the void left by the loss of the original. The design beckons light into its sanctum, proliferating colour from the stunning stained glass front window. The cathedral is symbolic of the city’s continued regeneration. cardboardcathedral.org.nz

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Re:START It is widely acknowledged that following a natural disaster there is a critical time frame of six to nine months within which life and activity must be restored to an area of devastation. That is, if recovery is to be successful. The longer recovery action takes, the less likely a positive outcome becomes. The Re:START Project might be viewed as an almost textbook case study. The project was carefully planned and implemented, overseen by a diverse team driven by a common purpose and emotional energy. Furthermore, the project was aided by a much broader community network of good will and initiative that enabled a number of logistical challenges to be tackled. The construction took place in a live disaster zone under the jurisdiction of the New Zealand Army. The construction took 61 days, was on time and within budget. Since its celebrated opening on November 29, 2011, the project has grown

from an initial 27 shops to more than 50 successful businesses. Additionally, it has enabled many market stalls, street performers and buskers to earn their living. This is a unique shopping mall. It has a curious, inviting atmosphere. The shipping containers seemingly suggest the smell of salty air, as if one is elsewhere. They provide highly functional shopping space and the mostly glass walls provide perfect window shopping. Within this microcosm, there is, too, an overwhelming sense of a safe haven, an inner sanctuary, an area of refuge and regeneration within a damaged city. The Re:START Mall is the perfect place to buy gifts, fashion, footwear, sweets and books, and to enjoy lunch. Visitors should experience the intriguing novelty of a clever project that will only exist for a limited time. Large hand-painted eggs, topiary birds and hanging flower baskets decorate this centrepoint of a CBD reborn. restart.org.nz


Gap Golf Following the Christchurch earthquakes, many Cantabrians were naturally hesitant to return to their city centre. It was impractical, traumatic and in some cases, both. But a city cannot exist without the healthy transit of people. With this in mind, an inspired pop-up initiative known as Gap Filler took a pro-active approach to breathing new life into its shaken city. Gap Golf operates within its framework. The enterprise is a shining example of how creative pragmatism can provide temporary solutions directed towards permanent growth. Playful, fun and mostly free, Gap Golf encourages families, particularly young people, to explore and experience their city as it rebuilds. Equally, it offers tourists an ideal and enjoyable way to discover Christchurch. This is especially true since the CBD remains, to a degree, difficult to navigate by car. There are currently seven holes, with each hole occupying a vacant site and thus explaining the background to the hitherto, pre-earth-

quake building. Importantly, as the city itself changes and evolves, so too does each hole. That is, as landowners reclaim their land to rebuild, the holes are removed and recreated on similarly deserted sites. Fairway to Heaven, 70 Kilmore Street, is perhaps the most popular hole, largely on account of its proximity to the Pallet Pavillion. Pallet Mini Golf, 100 Peterborough Street, is another popular hole. It was devised by the Stronger Christchurch Infrastructure Rebuild Team (SCIRT) and aptly reflects the infrastructure nature of its business designer. Road cones, piping and water features help create a light-hearted and quirky hole. Gap Golf succeeds on multiple levels. Coralie Winn, Gap Filler co-founder and creative director, says the project is about “leading by example and testing new ideas about what people want in their city�. Putt your way around Christchurch and experience the ingenuity and transformation first-hand. gapfiller.org.nz/gap-golf

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AMI TEMPORAY STADIUM Since the 8th Century BC, stadiums have occupied a centrifugal social force within cities. Thus, the loss of Christchurch’s original, historic stadium deprived the community of anywhere to celebrate major sporting or cultural events. It also meant the Crusaders – the most successful team in Super Rugby history – played their entire 2011 season away from home. It wasn’t just a logistical nightmare for the unstoppable Crusaders. It struck at the very heart of Christchurch, since the Crusaders form part of the physical, psychological and emotional fabric of Cantabrians. Recognising this Crusaders CEO Hamish Riach was instrumental in the challenging, though successful, battle to erect a new stadium. Under extraordinary circumstances, with undeterred energy and determination, AMI Temporary Stadium was erected through a collaborative effort, in a staggering 100 days. Expertly designed, it has earned international distinction, and was awarded the Project Of

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The Year Award at the International 2013 Stadium Business Awards. A symbol of strength, hope and pride, it returned what Christchurch Stadium Trust CEO Tim Shannahan describes as a “sense of normality during difficult times”. Additionally, school and local communities can utilise its facilities. Stadiums at their best provide unique, unrepeatable experiences. Atmosphere is everything. The first Crusaders game at AMI Temporary Stadium was, Riach recalls, “intensely emotional”. He describes the “wonderful weather” as a timely notice that the storm had finally calmed. Today, the incredible ambience remains ever potent. Each home game is a spectacular event not to be missed, an opportunity to be as close as it gets to world-class rugby and its finest players – think Richie McCaw, Dan Carter and Kieran Read. Here you’ll think you’ve entered a medieval tournament, as the Crusaders horses perform their trademark show to the goosebump magic of Vangelis’s Conquest of Paradise. Seize the opportunity to touch the pulse of Christchurch. vbase.co.nz/venues/ami-stadium

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T H E

R E V O L U T I O N A R Y

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B R O O K S B R O T H E R S

S U I T


John Hammond is perhaps the greatest A&R man in the history of American music. The son of an heiress, he fell in love with music listening to jazz records with his family’s servants, and went on to sign Bob Dylan and Bruce Springsteen. But Hammond’s biographer, Dunstan Prial, believes he started a revolution when he convinced Benny Goodman to record with Billie Holiday in 1933

B

ruce Springsteen didn’t hesitate. It was as if he’d been waiting for the question. It was a frigid night in early 2004, and we were in Springsteen’s dressing room an hour or so before he was to take the stage for a show in Providence, Rhode Island. We were talking about John Hammond, the legendary A&R man who had signed Springsteen to his first contract at Columbia Records in 1972. At the time of his audition, Springsteen, then just 22, knew that Hammond had also signed Bob Dylan to Columbia more than a decade earlier. Beyond Dylan, however, Springsteen had no knowledge either RAciAl HARmony / Billie Holiday (pictured) recorded with Benny Goodman in 1933, the first step towards integrating Goodman’s band

of Hammond’s extraordinary track record for bringing talent to Columbia, nor of Hammond’s wider influence on American popular music and culture. In short, Springsteen was unaware of what music insiders at the time reverentially referred to as “the list”. That is, the roster of iconic musical figures whose careers Hammond had helped shape during his five decades in the industry, a line-up that includes – besides Springsteen and Dylan – jazz legends Billie Holiday, Teddy Wilson, Benny Goodman, Count Basie and Charlie Christian, and pop music giants Aretha Franklin, Leonard Cohen, George Benson and, later, Stevie Ray Vaughan. What I wanted to know, and what I’d been waiting months to ask

Springsteen, was what Hammond had seen in him at 22 that he had also seen in a young Billie Holiday in the early 1930s, or a young Dylan in the early 1960s or a young Stevie Ray Vaughan in the early 1980s. In other words, what connected the dots for Hammond between these seemingly disparate musical voices? Springsteen, leaning forward with his elbows on his knees, fingers of both hands clasped thoughtfully in front of him, didn’t miss a beat. “I think he was just instinctive, you know,” he said. “I think he went with his gut, that what he sensed in people was a singular voice, you know. That was what moved him. A singular voice, some sort of distinctive voice that came from someplace particular and spoke with a certain sort of emotional force.” Yes. Exactly. That’s what Hammond had spent the duration of his career searching for – a “singular voice”. Not what everyone else was looking for. Not a guaranteed hit maker and money printer for Columbia Records. That was easy. Simply take a look around at what was popular and find artists who could mimic that sound. The A&R (artist and repertoire) offices at Columbia – and all of the big record companies, for that matter – were full of people who could do that. Hammond had no interest in the generic. Never did. He sought out the unique, the sound that would last for decades and change peoples’ lives. And he was more successful at it than any other A&R


man in the history of American music. Hammond’s life has often been defined by that extraordinary list. It shouldn’t be. His influence extended far beyond the theatres, nightclubs and recording studios where he and the musicians he nurtured plied their trades. What set him apart from other music industry executives of his era was that Hammond used his passion for the music as a means to an end – a social, rather than a financial, end. Music was the tool with which Hammond would achieve his larger goal of a fully integrated society. By the age of 25 he had organised some of the first integrated recording sessions, attended by many of the finest jazz musicians of the Swing Era. And he alone convinced a sceptical Benny Goodman to add the brilliant AfricanAmerican pianist Teddy Wilson to the Goodman band at the peak of the King Of Swing’s popularity. Hammond was essentially the sole catalyst for integrating American popular music in the mid-1930s, a full decade before the African-American Jackie Robinson integrated major league baseball. John Hammond could afford to seek the unique rather than the generic. Money was rarely an issue for him. He was born in a five-storey mansion on the Upper East Side of Manhattan in 1910. His mother, Emily Vanderbilt Sloane Hammond, was the great-granddaughter of Cornelius Vanderbilt, the Gilded Age railroad magnate and robber baron who at the time of his death in 1877 was the richest man on earth. It was in that mansion on East 91st Street that Hammond first heard African-American performers on the Grafanola in the servants’ quarters down in the basement. He was hooked immediately. “Music, especially music on records, entered my life early to become the catalyst for all that was to happen to me,” Hammond wrote in his autobiography, John Hammond On Record: An Autobiography. From the servants he learned the visceral

power of their earthy music, early jazz and blues recordings that elicited responses ranging from impromptu dancing to spontaneous tears. It was a far cry from the Mozart and Brahms heard on the upstairs floors of the Hammond home. By the age of 20, after dropping out of Yale, bored, Hammond was a regular in nightclubs and speakeasies all over New York. An incongruous figure, tall, thin and impeccably dressed in a Brooks Brothers suit, his hair already cut in the flattop that would become his trademark, he was often the only white person in the club. The music and musicians he favoured were “mahvellous, just mahvellous”, he sputtered in his Brahmin accent. Standing off to the side of the stage, he listened intently to the music, his face a broad, horsey

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changing times / Benny Goodman, Charlie Christian and John Hammond (top); Hammond and Bob Dylan (bottom)

grin, his head nodding to the rhythm. By now he was also using his own money to rent recording time for the musicians he met and admired, among them the down-on-his-luck bandleader Fletcher Henderson. On a tip from a friend in early 1933 Hammond drove to Harlem one night to see a singer he’d never seen before. That night he heard Billie Holiday for the first time. It wasn’t just her voice – an unorthodox delivery, sensual, breathy, supremely confident and just slightly behind the beat – she had a presence unlike any Hammond had ever experienced. “She weighs over 200 pounds, is incredibly beautiful and sings as well as anybody I’ve


ever heard,” Hammond wrote in a magazine article shortly after seeing Holiday. He knew immediately he wanted to record her. Hammond’s work with Holiday as she established herself as a star marked the beginning of a pattern that would repeat itself with many of the artists he would later champion – Bob Dylan springs immediately to mind. Like Dylan’s several decades later, Holiday’s unique style initially scared off the commercial recording companies. She didn’t sound like other singers. She was too raw. She wouldn’t sell. So Hammond wheedled, cajoled and persisted, rock solid in his faith that he had uncovered a one-of-a-kind talent. He finally convinced his friend Benny Goodman to let Holiday sing during one of the musician’s sessions, and Holiday’s career took off from there. The word ‘discovery’ is a slippery one. Did Columbus ‘discover’ America, for instance? Of course not. Did John Hammond ‘discover’ Billie Holiday – or Count Basie, or Bob Dylan, or Bruce Springsteen? Of course not. These were immensely talented people who would have found an audience sooner or later. The point is that Hammond consistently recognised these talents first, talents that others may have passed over because these artists didn’t fit a mould, didn’t fit preconceived notions of what defined commercial talent. Hammond seemed to instinctively identify genre-altering artists at their earliest stages, and instead of taking a pass because that talent might not turn a quick buck, Hammond had

an innate ability to look decades into the future. Proof of that crystal-ball vision lies in the enduring legacies of the artists he championed – artists who have not only sold millions of records but whose cultural impacts have spread far beyond their popular music niches. This is true of Billie Holiday, arguably the most influential and imitated of all the great female jazz singers; Count Basie, an ambassador for American jazz long after the Swing Era had faded; Charlie Christian, the original guitar god; Aretha Franklin, the Queen Of Soul; Bob Dylan, enough said; Leonard Cohen, the bohemian

Benny Goodman was a genius on the clarinet, perhaps the best pure musician and bandleader of the Swing Jazz era. But he was also a businessman, born dirt poor in the Chicago ghetto and determined to rise far above his humble beginnings. For a white musician like Goodman, playing with black musicians in the 1930s was bad business. Hammond thought otherwise. Of course, Hammond’s ancestral wealth precluded any need for sound business sense, but he believed audiences would respond to great musicians playing great music, regardless of the colour of their skin. What’s more, Hammond knew those audiences would eventually pay to hear that music. He was right. After first convincing Goodman to record with Billie Holiday in 1933, Hammond set his sights on a larger prize – integrating Goodman’s wildly popular band. Much as Jackie Robinson is said to have been handpicked by Brooklyn Dodgers general manager Branch Rickey to break the colour barrier in professional baseball in 1947, years

He asked Him if He wrote songs or anytHing. a musical revolution was on tHe way poet now in his 70s, still recording and performing with legions of loyal fans; Bruce Springsteen, perhaps more popular than ever; and Stevie Ray Vaughan, an emerging legend cut down too soon. But I’m dwelling on the list again. “John Hammond started a revolution,” Lionel Hampton, the thrilling and groundbreaking African- American vibraphonist, told me in an interview shortly before his death in 2002. Hammond chose an unlikely vehicle for this revolution, the integration of pop music in the 1930s.

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earlier Hammond handpicked the elegant and unflappable pianist Teddy Wilson to break the colour barrier in American popular music. Goodman and Wilson had already been playing together for several years as a trio with the drummer Gene Krupa during recording sessions arranged by Hammond, so Goodman was comfortable with Wilson’s considerable talents. But having Wilson join the band on stage was another matter altogether. Helen Oakley, a young jazz enthusiast from Chicago who organised the first live performance by an integrated


Goodman band, told Goodman biographer Ross Firestone, “Benny was extremely dubious. He was not an adventurous person and certainly wasn’t interested in sticking his neck out... Racial integration was not a personal cause with Benny.” It was with Hammond. After much handwringing by Goodman and arm-twisting by Hammond, the Goodman trio with Wilson on piano debuted in Chicago on April 12, 1936. The early reviews were terrific, and the trio became a regular part of Goodman’s set. Building on that success, Lionel Hampton, already an established star in Los Angeles, would join the Goodman band a few months later, also at Hammond’s urging. Hampton came aboard just in time for an historic show at the Dallas Fairgrounds in September 1937, the first integrated jazz concert in the deeply segregated American South. Despite rumoured threats of violence, opening night was a huge success, the crowd enthusiastically accepting Wilson and Hampton. Hammond felt especially vindicated by the events in Dallas. His theory had proven correct: if great musicians played great music, the fans would embrace it. Once Wilson and Hampton joined Goodman, integrated jazz bands became the norm, the tables turning even as white musicians joined formerly all-black outfits. Broader America gradually took notice. Hampton summed it up, “That was an important part of the history of our country,” he told me. “It was a turning point.” Hammond’s legacy as a talent scout would have been secure if he had retired after the 1930s. In addition to his work with Billie Holiday, Teddy Wilson and the Goodman band, in 1936 he convinced a reluctant Count Basie to leave the comfort of Kansas City for New York, jumpstarting the career of one of the great American bandleaders. Then, in 1939, he plucked an unknown virtuoso named Charlie Christian out of Oklahoma City, who in a

too-brief career would redefine the boundaries of the electric guitar. All of that was merely a first act, however. The second act would come after two decades of disappointments – a difficult stint in the military during the Second World War, a failed marriage and 10 years as a productive but largely low-profile record executive, a role he wasn’t really suited to. And what a second act it was. Bob Dylan had been kicking around New York for about a year, playing gigs, writing songs and sleeping on friends’ couches by the time Hammond first met him in 1962 at a rehearsal for the folk singer Carolyn Hester in a Greenwich Village apartment. Hammond, now happily remarried, had been busy in those days, primarily butting heads with a talented young singer from Detroit he’d recently signed to Columbia named Aretha Franklin. He was also steering Columbia into the burgeoning folk scene of that period, having already signed the iconic protest singer Pete Seeger to Columbia a few years earlier. The story of how Dylan was first signed to Columbia sounds improbable, but Hester, who was there, confirmed the account. Hammond asked Dylan to record a demo tape for Columbia after meeting him just once and only hearing him play harmonica, some scratchy rhythm guitar and sing backup vocals to Hester. “He liked Bob a lot,”

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Hester told me. “He asked him if he wrote songs or anything. A musical revolution was on the way.” Hammond’s role in the musical revolution forged by Dylan was actually fairly small. He only produced Dylan’s first two albums, Bob Dylan and The Freewheelin’ Bob Dylan (which didn’t really need much production) and, in any case, Dylan was going to rewrite the rules of pop music one way or another. But Hammond’s role in nurturing Dylan’s early career as a recording artist at Columbia cannot be overstated. To the suits and bean counters at Columbia, the guys who paid the bills, Dylan was, to say the least, an enigma. What, they wondered, did Hammond see in this scruffy kid that set him apart from a hundred other Woody Guthrie wannabes in Washington Square Park? He was a decent harmonica player and could passably accompany himself on guitar. But that voice... And he had yet to write anything that resembled a potential hit. For Hammond, the answer was twofold: he recognised a unique charisma in Dylan that emerged chiefly during live performances, and he believed Dylan had something to say. It was intuition borne out of three decades of criss-crossing America VIP GUESTS / Hammond with Charlie Christian and Count Basie (top left)); dining with jazz stars, including Basie and Christian (bottom right)


in search of unrefined talent. His hunch didn’t pay off immediately. Dylan’s first album sold poorly, and the suits and bean counters began to snicker behind Hammond’s back. They famously referred to Dylan as “Hammond’s folly”. Rumours began to circulate around Columbia that Dylan might be dropped from the label. The snickering stopped after Dylan penned Blowin’ In The Wind, which became an instant hit for the popular folk group Peter, Paul And Mary. Quickly the song transcended the pop charts and became an anthem for the Civil Rights movement. Blowin’ In The Wind appeared on Freewheelin’ in mid-1963, along with a handful of Dylan songs. Among them the protest songs A Hard Rain’s A Gonna Fall and Masters Of War, and the love song Don’t Think Twice

at Columbia’s offices in Midtown Manhattan in early May 1972, he was told by his long-time secretary Liz Gilbert that he had an 11am appointment. He didn’t give it much thought until the appointment arrived: a young singer-songwriter from New Jersey, a bit of a greasertype in a t-shirt, jeans and beat up Frye boots, and the singer’s very abrasive manager. Before Hammond could open his mouth, the manager, a former Marine named Mike Appel, declared, “In short, you’re the guy who discovered Bob Dylan for the right reasons. You won’t miss this.” Hammond, unimpressed and growing impatient, told Appel to sit down. Springsteen took it all in stride. Already something of a legend in the bars along the Jersey Shore, he was confident in his abilities, and

He taugHt me tHat wHen you Hear someone tHat Has originality, you just sign Him It’s Alright. Dylan’s promise as a songwriter – and Hammond’s faith in the artist – had been fulfilled. Bruce Lundvall worked as a producer at Columbia for more than 20 years, much of it with Hammond, and he idolised the man. He told me what he learned from his mentor. “He taught me that when you hear someone that has originality, you just sign him, you don’t start asking questions about, well, can we sell enough records, how will we market this, will this get played on the radio – any of that nonsense. That means you’re just doing pop confections. Dylan represented something really fresh and raw, and John heard that. He heard the lyrics; he heard what [Dylan] was singing about. And he believed fervently in Bob and, of course, the rest is history.” Springsteen fell into Hammond’s lap. Arriving at work one morning

came ready to play. “I was taking the approach for the day that I had nothing so I had nothing to lose,” Springsteen explained. And play he did. After just two songs, It’s Hard To Be A Saint In The City and Growin’ Up, Hammond stopped him and said, “You’ve got to be on Columbia Records.” After the audition Hammond raced to the office of Clive Davis, who was running Columbia, to tell him he had found an artist who “would last a generation”. Despite the difference in their ages and backgrounds, Hammond and Springsteen developed a deep and lasting bond. Springsteen said that early in his career at Columbia he would drop by Hammond’s office unannounced to try out new material or just talk about music. “He was somebody I felt my music was very safe with,” Springsteen recalled. One of my favourite Hammond anecdotes was told to me by the late

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Stevie Ray Vaughan’s drummer, Chris ‘Whipper’ Layton. It was early 1984 and Vaughan, Layton and their bass player, Tommy Shannon, were in New York recording their second album. About a year earlier, a demo recorded by Vaughan had found its way to Hammond, who was blown away by the artist’s prowess on the guitar. Through Hammond’s connections, Vaughan was signed to Epic, a subsidiary of Columbia. Now 73, Hammond was serving as an executive producer on Vaughan’s album Couldn’t Stand The Weather. A few minutes into the session, as the musicians were still tuning their instruments, the engineer asked them to run through a number. Layton delivered a rumbling drum roll, the intro to Tin Pan Alley, and Vaughan and Shannon followed his lead. “I don’t know why we did that song. I think it was the first thing we did,” Layton remembered. Hammond, as usual, was buried behind a New York Times in the engineer’s booth. When the band finished the song, Hammond’s voice came over the cue mix. “That’s the best you’ll ever get that song,” he announced. The band members glanced at one another, sceptical of Hammond’s hasty assessment. Six or seven takes later, Hammond’s intuition proved right. The song never sounded better than that first take. Two decades later, Layton remained astonished at the depth of Hammond’s feeling for their music. “He was just so connected to the spirit of what we were doing,” the drummer said. Hammond continued his life’s work, even after a series of strokes in the mid-1980s. He continued his search for the next game-changing artist, the next ‘singular voice’. Just a few days before he died on July 10, 1987, bedridden now, he insisted that an old friend listen to a tape of one of his latest discoveries. “It’s mahvellous, isn’t it? Just mahvellous,” Hammond quietly enthused, his face a broad grin, his head nodding gently to the music.


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Keep up to date with the scores from Brazil Follow the action at the 2014 FIFA World Cup BrazilTM on your flight

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briefing ROMERO BRITTO: Words with the Brazilian artist and FIFA World Cup ambassador BRussEls DAIlY: Emirates announces a new service to the Belgian capital ROuTEMAp: Discover the world as connected by Emirates

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Q&A: ROMERO BRITTO Romero Britto came from a humble background in Brazil to become a world-renowned pop artist. A huge football fan, he has been appointed as a 2014 FIFA World Cup Ambassador. The tournament kicks off in his home country this month

You are working with FIFA for the 2014 FIFA World CupTM. What exactly is your role? I have the privilege of serving as a 2014 FIFA World Cup Ambassador. As a representative, my job is to promote the biggest football performance on the planet, encouraging people from all over the country and the world as a whole to participate in and celebrate the upcoming festivities. Why did you decide to work with FIFA? One of the aims of FIFA World Cup is to fuel the dreams of youngsters worldwide, to encourage them to take up the sport. This goal truly resonated within me as a child of humble beginnings growing up amongst eight brothers and sisters in

Recife, Brazil. Like most Brazilians, I’m quite passionate about football. It is a sport with no bounds. It can be played anywhere, at anytime, by anyone regardless of race, class, gender or age. And it can be played with almost anything, like Pelé, who first played with a ball of socks. I drew upon this idea of unlimited opportunity and optimism as I aspired to be an artist. My ongoing goal is to stir this same kind of curiosity and optimism through my art. My collaboration with FIFA beautifully reinforces this shared belief in possibility. So you’re a big football fan? Tremendous. I adore the sport, the cheering and the overall experience of happiness that it inspires. Having grown up in Recife, what does it mean to you to see Brazil host the FIFA World Cup? For me personally, it is one of the best moments of my career to be a part of this historic occasion, when the world’s greatest football tournament returns to Brazil after 60 years. It’s such an exciting time for the country, where football is almost like a religion. It has the power to unify nations. Let’s turn to art for a moment. What artists influence your work? Some of my first experiences with the art of masters included Matisse and Picasso. They were and continue to be a great influence on my work. Of course, I like Warhol and Haring. I also admire Pollock, Léger, Dali and DaVinci, to name a few. So I’m influenced by many. I’m an artist, a creative being, I see can see beauty and find inspiration in everything around me, in the world. Why do you choose to use such bright colours in your work? To me bright colours evoke feelings

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of happiness optimism and positive energy. My favourite colour is yellow, the colour of the sun and life. Did you know studies have shown that bright colours can improve your mood, your memory, your confidence, even your mental and physical agility? It’s great to believe that my works can have such a grand effect. Do you consider yourself a Pop Art artist? All I know is that many people call me a pop artist! It’s an honour to be included in the same genre amongst greats like Andy Warhol, Keith Haring and Roy Lichtenstein. Some artists are focused solely on their art, but you have done a lot of work for charity. What is your motivation? Every artist has their own methodology for creating works. Some need to quietly withdraw inward, and some find inspiration through spending time with others. Regardless of how the creative process is approached, I firmly believe the role of an artist is to be an agent of positive change. I’m committed to developing and supporting the powerful position art can play in world issues. Art is too important not to be shared, and enjoyed by all. So, where will you be watching the matches from? I hope to attend some of the matches in Brazil, especially the opener and the final. I will be travelling extensively throughout the summer – as always – and look forward to watching the matches and celebrating the tournament with different people around the world. Do you think Brazil has a chance of winning? Of course! It would be amazing for Brazil to win… let’s see. britto.com


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briefing

news Wolgan VallEy WElcomEs ‘godfathEr’ of italian cooking conservation-based resort, is joining forces with international celebrity chef Antonio Carluccio to host a culinary extravaganza. Regarded as the Godfather of Italian gastronomy, the much loved and respected Italian chef will host the event from 18th to 20th July. Carluccio is visiting Australia as patron of The Truffle Festival of the Canberra and capital region, and in celebration he will craft a truffle-inspired Italian-influenced food and wine experience that is grounded on Wolgan Valley’s food philosophy of regional, seasonal and organic produce sourced from within 100 miles. Guests will be treated to gastronomic delights including a signature degustation dinner created by Antonio, a cooking demonstration, an intimate Q&A session by the fireplace, as well as a wine tasting session with some of the region’s best winemakers. “I will be glad to be visiting the antipodean part of the world where truffles are available and I am very much looking forward to my stay at Emirates Wolgan Valley Resort & Spa and exploring the Australian countryside,” said Carluccio. The Weekend with Antonio Carluccio includes two nights’ accommodation in a luxury Heritage Suite with private pool, a signature degustation dinner created by Antonio, an intimate cooking demonstration and Q&A

session with Antonio, a wine tasting session with some of the region’s best winemakers, all meals and beverages, and two on-site naturebased activities per person. This package is AUD$740 per

person, per night in a Heritage Suite (twin share). To book please contact the Emirates Wolgan Valley reservations team on +61 2 9290 9733 or e-mail reservations@ wolganvalley.com.

Antonio CArluCCio's new book, PAstA, is out now (HArdie GrAnt Aud$45). PHotoGrAPHy by lAurA edwArds.

EmiratEs Wolgan VallEy rEsort & spa, Australia’s luxury

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news KEEp up to datE with thE scorEs from brazil EmiratEs will bE showing livE matchEs of thE 2014 fifa world cup brazil™ as part of its ice tv live sErvicE.

Keep up to date with the results from the 2014 FIFA World Cup Brazil on board your Emirates flight. Watch the matches live from your seat with ice TV Live on the Sport 24 Channel. ice TV Live is available on select Boeing 777s. On all Emirates flights, you can visit the Airshow moving map channels, which are updated throughout your flight displaying live scores. Scores will also be available in the News section of ice Digital Widescreen. For information about what’s available on your flight, ask a member of your cabin crew.

Kuwait to gEt a380 sErvicE on 25th annivErsary

EmiratEs is cElEbrating 25 yEars of flying to Kuwait

with the launch of a daily A380 service that will commence on 16th July. EK 857 and EK 858 will be upgraded to a double decker, bringing Emirates’ highly popular flagship aircraft to Kuwait International Airport.

It was July 16, 1989 when Emirates began flights between Dubai and Kuwait. The airline now serves the route five times daily with a combination of Boeing and Airbus aircraft. Kuwait is the second market in the Middle East to be served by the airline’s flagship aircraft after the Kingdom of Saudi Arabia

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where the A380 serves Jeddah. The list of destinations served by the Emirates A380 continues to grow. Recently launched A380 services include Los Angeles, Barcelona and London Gatwick, while Dallas will receive its own on 1st October and a second daily A380 service to Moscow will launch 1st August.


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briefing

news New daily service to Brussels

emirates is lauNchiNg a daily service to Brussels, Belgium, from 5th septemBer.

The non-stop service will be operated by a Boeing 777 and Emirates will be the first international airline to offer a First Class product from Brussels

to the Middle East and Asia. Brussels will be the eighth new destination for Emirates this calendar year following the launches of Kiev, Taipei and Boston and upcoming services to Abuja and Kano launching on 1st August, Chicago on 5th August

Get to your gate on time Don't miss your flight Please make sure you get to your boarding gate on time. Boarding starts 45 minutes before your flight and gates close 20 minutes before departure. If you report late we will not be able to accept you for travel.

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and Oslo on 2nd September. The flight to Brussels will depart Dubai as EK183 at 7.50am and arrive at Brussels International Airport, at 1.15pm the same day. The return flight, EK184 will depart at 2.45pm and arrives at Dubai International Airport at 11.25pm the same day.


briefing

news emiraTes Group announces 26Th consecuTive year of profiT

The emiraTes Group has achieved iTs 26Th consecuTive year of profiT and companywide GrowTh, alonG wiTh achievinG an unprecedenTed level of invesTmenT across The Group.

In its 2013-14 Annual Report, the group posted a Dhs4.1 billion (US$1.1 billion) profit, up 32 per cent from last year. The financial year ending 31 March 2014 also marked investment across the Group at AED 22 billion (US$ 6 billion). “Achieving our 26th consecutive year of profit in a financial year marked by record increases in capacity and significant business investments across the Group is testimony to the strength of our brands and our business fundamentals,” said HH Sheikh Ahmed bin Saeed Al Maktoum, Chairman and Chief Executive, Emirates Airline and Group. “Throughout 2013-14 the Group has collectively invested the highest amount ever in one financial year. We know that to be a sustainable and profitable

business we have to keep adding value to our stakeholders, our customers, partners and employees. To do this, we need efficient new aircraft, quality products and services, and cutting-edge facilities. Every dirham invested has been carefully considered against short and long-term goals - be it enhancing our capabilities, improving our product, or expanding our business footprint.” In 2013-14, Emirates carried a record 44.5 million passengers, up 13% from last year - maintaining a robust Passenger Seat Factor nearly consistent with last year's results, in spite of a 15% increase in seat capacity by Available Seat Kilometres. This highlights the strong consumer desire to fly on Emirates’ state-of-the-art aircraft. Emirates also improved its premium seat factor despite strong competition in many markets. Premium and overall seat factor for the airline’s flagship A380 aircraft outperformed the network, underscoring the popularity of Emirates’ premium and A380 product amongst customers.

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With the delivery of new aircraft, Emirates launched nine new destinations in 2013-14: Boston, Clark, Conakry, Haneda, Kabul, Kiev, Sialkot, Stockholm and Taipei, as well as a new service between Milan and New York. Looking forward to 2014-15, Emirates has to date announced five new passenger routes including Abuja, Brussels, Chicago, Kano and Oslo. It was also a record-breaking year for dnata, one of the world's largest air services providers. The company marked its most successful year in 55 years of operation, growing its revenue to Dhs7.6 billion (US$2.1billion), an increase of 14 per cent, through organic growth as well as strategic international acquisitions. dnata also outperformed last year’s record profit to reach Dhs829 million (US$226 million). The full 2013-14 Annual Report of the Emirates Group – comprising Emirates, dnata and their subsidiaries – is available at theemiratesgroup.com/annualreport


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briefing

Comfort

Wellness in the air

To help you arrive at your destination feeling relaxed and refreshed, Emirates has developed this collection of helpful travel tips. Regardless of whether you need to rejuvenate for your holiday or be effective at achieving your goals on a business trip, these simple tips will help you enjoy your journey and time on board with Emirates today.

smart traveller

Drink plentY of Water Rehydrate with water or juices frequently. Drink tea and coffee in moderation.

travel lightlY Carry only the essential items that you will need during your flight.

Before Your JourneY Consult your doctor before travelling if you have any medical concerns about making a long journey, or if you suffer from a respiratory or cardiovascular condition. Plan for the destination – will you need any vaccinations or special medications? Get a good night’s rest before the flight. Eat lightly and sensibly.

Wear glasses Cabin air is drier than normal, therefore swap your contact lenses for glasses.

at the airport Allow yourself plenty of time for check-in. Avoid carrying heavy bags through the airport and onto the flight as this can place the body under considerable stress. Once through to departures try and relax as much as possible.

use skin moisturiser Apply a good quality moisturiser to ensure your skin doesn’t dry out.

keep moving Exercise your lower legs and calf muscles. This encourages blood flow.

During the flight Chewing and swallowing will help equalise your ear pressure during ascent and descent. Babies and young passengers may suffer more acutely with popping ears, therefore consider providing a dummy. Get as comfortable as possible when resting and turn frequently. Avoid sleeping for long periods in the same position.

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make Yourself comfortaBle Loosen clothing, remove jacket and avoid anything pressing against your body.

When You arrive Try some light exercise, or read if you can’t sleep after arrival.


briefing

Visas & UaE smart GatE Guide to us customs & immiGration Whether you’re travelling to, or through, the United States today, this simple guide to completing the US customs form will help to ensure that your journey is as hassle free as possible.

CUSTomS DEClArATIon Form

electronic system for travel authorisation (esta) If you are an international traveller wishing to enter the United States under the Visa Waiver Programme, You must apply for electronic authorisation (ESTA) up to 72 hours prior to your departure.

esta facts:

All passengers arriving into the US need to complete a Customs Declaration Form. If you are travelling as a family this should be completed by one member only. The form must be completed in English, in capital letters, and must be signed where indicated.

Children and infants require an individual ESTA. The online ESTA system will inform you whether your application has been authorised, not authorised or if authorisation is pending. A successful ESTA application is valid for two years, however this may be revoked or will expire along with your passport.

apply online at www.cbp.Gov/esta nationalities eliGible for the visa waiver*: Andorra, Australia, Austria, Belgium, Brunei, Czech republic, Denmark, Estonia, Finland, France, Germany, Hungary, Iceland, Ireland, Italy, Japan, latvia, liechtenstein, lithuania, luxemburg, malta, monaco, The netherlands, new Zealand, norway, Portugal, San marino, Singapore, Slovakia, Slovenia, South Korea, Spain, Sweden, Switzerland and the United Kingdom**

* subject to chanGe ** only british citizens qualify under the visa waiver proGramme.

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BE SMART!

NATIONALITIES THAT CAN USE UAE SMART GATES

USE UAE SMART GATE AT DUBAI INTERNATIONAL AIRPORT GO THROUGH IMMIGRATION IN SECONDS AND GET YOUR VISIT TO DUBAI OFF TO A FLYING START Citizens of the countries listed on the right and UAE residents can speed through Dubai International Airport by using UAE Smart Gate. If you hold a machine readable passport, UAE Emirates ID card or E-Gate card you can check in and out of the airport within seconds. Just look out for signs that will direct you to the many UAE Smart Gates found on either side of the Immigration Hall at Dubai International Airport.

USING UAE SMART GATE IS EASY

1

Have your UAE Emirates ID card, E-Gate card or machine-readable passport ready to be scanned

Place your passport photo page on the scanner. If you are a UAE resident, you can scan your UAE Emirates ID card. If you have an E-Gate card place it into the E-Gate slot

2 3

OK!

Go through the open gate, stand in the blue footprint guide on the floor, face the camera straight-on and remain still for your iris scan. When finished, the next set of gates will open and you can proceed to baggage claim

UAE

ANDORRA

AUSTRALIA

AUSTRIA

BAHRAIN

BELGIUM

BRUNEI

CANADA

DENMARK

FINLAND

FRANCE

GERMANY

GREECE

ICELAND

IRELAND

ITALY

JAPAN

KUWAIT

LICHTENSTEIN

LUXEMBOURG

MALAYSIA

MONACO

NETHERLANDS

NEW ZEALAND

NORWAY

OMAN

PORTUGAL

QATAR

SAN MARINO

SAUDI ARABIA

SINGAPORE

SOUTH KOREA

SPAIN

SWEDEN

SWITZERLAND

*UK

USA

*UK citizens only (UK overseas citizens still require a visa)

REGISTERING FOR UAE SMART GATE IS EASY

To register, just follow the above process and then spend a few moments having your details validated by an Immigration officer. That’s it! Every time you fly to Dubai in future, you will be out of the airport and on your way just minutes after you landed.

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UAE SMART GATE CAN BE USED BY:

Machine readable passports from the above countries UAE Emirates ID cards E-Gate cards


ROUTE MAP

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OPEN SKIES / JUNE 2014


NEW ROUTES:

Kano/Abuja: from August 1, 2014 Chicago: from August 5, 2014 Oslo: from September 2, 2014 Brussels: from September 5, 2014

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OPEN SKIES / JUNE 2014


ROUTE MAP

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ROUTE MAP

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OPEN SKIES / JUNE 2014


• • • • • • • •

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Our fleet contains 224 aircraft made up of 211 passenger aircraft and 13 cargo aircraft

Boeing 777-300eR

Number of Aircraft: 96 Capacity: 354-442 Range: 14,594km Length: 73.9m Wingspan: 64.8m

Boeing 777-300

Number of Aircraft: 12 Capacity: 364 Range: 11,029km Length: 73.9m Wingspan: 60.9m

Boeing 777-200LR

Number of Aircraft: 10 Capacity: 266 Range: 17,446km Length: 63.7m Wingspan: 64.8m

Boeing 777-200

Number of Aircraft: 9 Capacity: 274-346 Range: 9,649km Length: 63.7m Wingspan: 60.9m

Boeing 777F

Number of Aircraft: 11 Range: 9,260km Length: 63.7m Wingspan: 64.8m For more information: emirates.com/ourfleet

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Airbus A380-800

Number of Aircraft: 50 Capacity: 489-517 Range: 15,000km Length: 72.7m Wingspan: 79.8m

Airbus A340-500

Number of Aircraft: 9 Capacity: 258 Range: 16,050km Length: 67.9m Wingspan: 63.4m

Airbus A340-300

Number of Aircraft: 4 Capacity: 267 Range: 13,350km Length: 63.6m Wingspan: 60.3m

Airbus A330-200

Number of Aircraft: 21 Capacity: 237-278 Range: 12,200km Length: 58.8m Wingspan: 60.3m

boeing 747-400erF

Number of Aircraft: 2 Range:9,204km Length: 70.6m Wingspan: 64.4m Aircraft numbers as of June 2014

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last look

London MARITS ROBERTS 28 MARKETING MANAGER, BRITISH FASHION COUNCIL HAGGERSTON, EAST LONDON

IMAGE: LEAH MCQUEEN, LEAHMCQUEEN.COM

I have lived in London for 10 years; it’s one of the most cultural and creative capitals in the world. I love the variety that the city has to offer. Whatever you’re into, you’ll find it here. This area, Haggerston, offers a wealth of quirky little restaurants, cafés and bars, not to mention the fact it’s the creative hub of this city and the driving force behind much of the city’s creative industry. I’m taking a break from shooting our Men’s Fashion Week campaign in a studio nearby. It’s a good place for seeking inspiration and meeting interesting characters. It’s not the typical London you see on a postcard or in a Richard Curtis film. It’s much more industrial, raw and a little bit dirty. But these imperfections make it loveable and unique. There are possibly more nationalities living in these five square miles than the rest of Britain put together. This gives rise to a fantastic clash of cultures and a vibrant culinary scene. From Turkish to Vietnamese, Ethiopian to Italian, you could eat something new here everyday. Variety keeps me motivated and I’m lucky to experience such diverse environments each and every day. My style changes daily, depending on my mood. It is certainly not dictated by the weather, as is quite clear from this picture. But luckily for us Londoners, an umbrella is never far from our grasp.


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Openskies | June 2014  
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