NEW YORK: Elton John is retiring from the road after his upcoming three-year global tour, capping nearly 50 years on stages around the world.
“I’ve had a good run, I think you’d admit that,” John said Wednesday, adding that he wanted to “leave people thinking, ‘I saw the last tour and it was fantastic.’“
The 70-year-old singer, pianist and composer said he wanted to spend time with his family. His children will be 8 and 10 when the tour ends in 2021, and John said he hoped he might be able to take them to soccer practice. “My priorities now are my children and my husband and my family,” he said. “This is the end.”
John made the announcement at an event in New York in which he sat at a piano and performed “Tiny Dancer” and “I’m Still Standing.” He wore his signature glasses and a colorful suit jacket that read “Gucci Loves Elton.”
His final tour — dubbed “Farewell Yellow Brick Road” — starts on Sept. 8 in Allentown, Pennsylvania and includes 300 shows in North America, Europe, Asia and South America. Tickets go on sale beginning Feb. 2.
Interest in the announcement was so high his website crashed. He wrote on Instagram that “EltonJohn.com will be fully back online as soon as possible.”
John said he decided on his retirement plans in 2015 in France: “I can’t physically do the traveling and I don’t want to,” he said.
He said he may do a residency after the tour wraps, but ruled out the idea of using a hologram of himself. He called it “spooky” and “a bit freaky,” and said he told his kids to “promise me that there won’t be a hologram of me.”
“Who knows? They may go broke and put me back on the (expletive) stage,” he added.
John has suffered several medical setbacks of late, including a bacterial infection last year that he contracted during a South American tour and an E. coli bacterial infection in 2009. He’s also had appendicitis and has been fitted with a pacemaker. But on Wednesday he said he’s “in great health.”
In an interview after the announcement, John told The Associated Press, “Ten years ago, I wanted to die onstage.”
But, he said, “I just never thought fatherhood could bring me so much joy, and I came to fatherhood late in the day, but it’s been one of the miracles of my life.”
He said two children keep him and husband David Furnish busy: “We thought about (more kids) but we said, ‘No.’ We have enough on our plate with these two. If we were 10, 15 years younger, we probably would have, definitely. I would love to have a little girl.”
At the Grammy Awards, to be presented in New York on Sunday, John is to perform alongside Miley Cyrus and will collect the President’s Merit Award. His Las Vegas residency ends in May after six years. His hits include “Your Song” and “Candle in the Wind.” He has won five Grammys, an Oscar, a Golden Globe for “The Lion King” and a Tony Award for “Aida.” He is the recipient of a Kennedy Center Honor and has sold 300 million records.
“I had a period in my life when I was selling records, I couldn’t stop being No. 1, and I gradually evened out. If you’re good live, it’s about being able to play live. The great artists that are out now — McCartney, Springsteen, Sting, Bob Dylan — they’ve all been great live performers, The Who — that’s the longevity,” he said. “There aren’t many of us left and I don’t think when we go there will be anybody else to replace us.”
John launched his first tour in 1970 and has performed over 4,000 times in more than 80 countries. He was inducted into the Rock and Roll Hall of Fame in 1994.
He said the upcoming tour could include special guests onstage: “Maybe. Yeah, of course. ...That keeps the momentum of the tour going. ...That will happen.”
From 1970-76, John released 10 original studio albums and seven consecutive chart toppers. He remained a hit maker over the following four decades, from “The Lion King” soundtrack song “Can You Feel the Love Tonight” to a revision of his Marilyn Monroe ode “Candle in the Wind,” released in 1997 after the death of John’s friend Princess Diana and one of the best-selling singles of all time.
“I love music. It’s not a chore. It’s pleasure. Music kept me alive when I was doing drugs and I was still working. It’s a constant in my life ever since I’ve been a young boy. The reason I’m here is because of music. And now the reason has changed — it’s because of my children,” he said.
Elton John says upcoming tour will be his last
Elton John says upcoming tour will be his last
Jeddah-born artist Dana Awartani on making contemporary work that honors the past
- ‘Traditional arts are dying out,’ says Dana Awartani
DUBAI: At the Diriyah Art Biennale, Saudi-born artist Dana Awartani, who is of Palestinian heritage, has created a dreamy, otherworldly series of 10 silk fabrics in earthy hues of ochre, reds and greens placed on wooden frames and mounted on the wall as overlapping, semitransparent panels.
The installation — “Come, Let Me Heal Your Wounds” — was derived from research into Ayurvedic dyeing, which is used to create clothing with alleged healing properties. To create the work, Awartani collaborated with artisans in Kerala, India.
The artist also identified 355 cultural sites that have been destroyed because of conflict and violence since 2010 in Syria, Tunisia, Libya, Iraq, Egypt, and Yemen. She marked each location with a tear in the silk, creating her own intuitive map of loss. Together with local craftspeople, Awartani then repaired the fabric, mending each hole by hand.
The work hints at the fragility of cultural sites throughout the Middle East and North Africa region, and serves as a plea to safeguard ancient monuments and Arab culture and tradition in general.
“You have this erasure of history that’s happening in the Levant, in Gaza now, and I felt it was critical to use my traditional arts training and aesthetic language to talk about issues that are relevant to the region,” Awartani tells Arab News.
Awartani’s work, which covers a variety of mediums — including drawing, painting, textiles, multimedia installations, and film — is inspired by the rich heritage of Islamic art, particularly ‘sacred geometry’; abstraction; and traditional crafts. She combines these influences with contemporary styles to render works imbued with both alluring aesthetic qualities and philosophical depth. Much of her work uses locally sourced materials, as well as vernacular and ancient design styles to present a dialogue between the past and present of Arab culture.
“The memories and experiences of the people I collaborate with also become part of the work,” she says, adding that traditional arts “are dying out, people don’t use sacred geometry anymore; people don’t work with their hands anymore.”
Geometry is at the center of her animated film “Listen to my Words” — also on view in “After Rain.” In it, a gray background is gradually filled by a delicately rendered geometric pattern inspired by jali and mashrabiya — latticed screens used in traditional architecture to regulate light, airflow, and heat. Jalis were also used to shield women from the male gaze.
The film, Awartani explains, was inspired by the story of Nur Jahan, the wife of a Mughal emperor, who reportedly played a leading role in government in the 17th century from behind a jali, whispering commands to her husband. It is soundtracked by contemporary recitals of Arabic poetry written by women centuries ago — giving them a platform, and resonance, in the present.
The incorporation of traditional practices into contemporary artistic discourse is central to Awartani’s art — she is currently pursuing an Ijazah certificate in Islamic illumination. The work she created after earning her master’s degree from The Prince’s Foundation School of Traditional Arts in London focused heavily on sacred geometry; something that is still a major influence (as evidenced by “Listen to my Words”), but less so than it was — a shift she attributes to “recent events in the Middle East, with the ways the current wars have destroyed the heritage and culture of the region. This has really shifted my perspective.”
Of her earlier work, she says: “When I graduated from the Prince’s School, it was hard to snap out of the training because you’re continuing an art form that has been around for centuries, and there’s a certain level of responsibility that comes with that.
“There are many people who take something old, like traditional crafts, and innovate without understanding it. Sometimes I find that problematic. For the longest time, I was still trying to hone my skills and learn as much as I could about traditional arts while still using it in a contemporary way through concepts relating to Islamic geometric patterns.”
Awartani first became interested in sacred geometry, she says, as a way to “understand the world from a different perspective by seeing harmony in nature and the cosmos through the lens of geometry and numbers.” Sacred geometry is also a way to connect with her heritage.
“As Arabs, we’re raised around this fine art, we’re surrounded by it in every corner, but we’re not aware of it,” she told Arab News in a 2014 interview. “You can see geometry all around you, like in mosques for example. I was looking for a track to follow — deep down inside I felt a yearning for it. There is an inner and outer beauty telling a story behind every structured piece; there is no randomness when it comes to creating such pieces.”
It is not only the theoretical side of Awartani’s work that has shifted — the way she creates it has also changed in recent years.
“It’s a lot more collaborative now, involving different craft communities,” she explains. “Whereas, before, I used to predominantly do paintings and works on paper, now I incorporate the work of traditional craftsmen in my work.”
In last year’s “When The Dust of Conflict Settles,” for example, she worked with apprentice stonemasons from Syria who have been displaced by the war in their homeland and are living in Jordan.
“It’s this coming together of various craftspeople to foster an exchange of knowledge that I am really passionate about now,” she says. “This exchange of knowledge and exchange of culture.”
Recipes for Success: Chef Elia Kaady talks kitchen discipline
DUBAI: Elia Kaady, head chef at Saudi fine-dining restaurant Maiz, may never have made a career of cooking if it wasn’t for his brother.
“Everyone probably has a person who inspires them to build a better a better future for themselves. For me, that’s my brother, who’s also a chef. He was the one who supported our family and took care of almost everything. So, I was inspired by him. Of course, I had a passion for food, but it’s mostly due to him,” Kaady tells Arab News.
Kaady began his career in Beirut, working at a wide variety of restaurants including La Posta, Burgundy, and SUD Rest-Bar. He then moved to Saudi Arabia.
Now he’s running the kitchen at Maiz, which opened its doors last summer in Riyadh’s upmarket Bujairi Terrace. The menu is inspired by recipes and ingredients from across Saudi Arabia’s various regions.
“It’s a Saudi restaurant that provides high-end, authentic and uplifted dishes in a beautiful location,” Kaady says.
During Ramadan, the restaurant is offering a Chef’s Suhoor Table, where diners have the chance to engage with the chef, ask questions, and gain insights into the menu and culinary inspirations behind each dish.
“The Chef’s Suhoor Table offers a great immersive experience for all the local Saudis and for all the foreigners as well,” Kaady says.
Here, the chef discusses shawarmas, his favorite dish to cook, and his management style.
Q: When you started out what was the most common mistake you made?
A: There were many challenges, especially when I was studying in the mornings at culinary school and working late nights in a restaurant. The main thing was getting the heat right — working with the stove was one of the biggest challenges. When you cook fish, or beef, or lamb, you have to get the heat exactly right.
What’s your top tip for amateur chefs?
Be patient. Rushing can cause you to lose your passion. Especially if you get something wrong the first few times; you will lose hope. For sure, speed can be important in the kitchen, but when it comes to doing it well, organization is the most important thing.
What one ingredient can instantly improve any dish?
Olive oil, or extra virgin olive oil. It’s a major element in Mediterranean cuisine. I belong to Lebanon, so I feel olive oil uplifts the taste of the dishes to another level. Moreover, it’s an essential part of our daily routine in the Middle East.
When you go out to eat, what’s your favorite cuisine?
Mediterranean is one of my favorites. But I also love Middle Eastern street food, which is famous worldwide. I love beef shawarmas. Each bite reminds me of my childhood. The sourness of the tomatoes, the parsley, the julienned onions and the tahina sauce take me to a different space. It’s so simple.
And when you’re eating out, do you find yourself critiquing the food?
Honestly, yes; I do do that sometimes. Being a chef, or being in the food industry, does make you a critical person.
What’s a common mistake you find other restaurants making?
The issue I find in a lot of places is that the food is unsalted or unseasoned.
What’s your go-to dish if you have to cook something quickly at home?
OK, let’s go simple again. In 20 minutes, I could have crispy French fries and tabouleh salad —adding some slices of red chili makes it taste very different. This combination makes me really happy.
What’s your favorite dish to cook?
I love making pasta dishes. Italian dishes are very rich but use just a few simple ingredients like tomato, olive oil, ricotta cheese, basil, garlic and eggplant. You could add pine nuts too. A dish like this will make my day.
What customer request most annoys you?
When a customer asks me to make sure their chicken is well-cooked. I know meat needs to be cooked properly.
As a head chef, what are you like? Do you shout a lot? Or are you quite laid back?
In this industry, we’re under constant pressure — we have to give our guests the best experience. And to keep a good environment in the kitchen, the staff must behave well. I believe it can be necessary to shout a bit; it’s another tool with the employees to have the rules followed in the kitchen all the way.
Trailblazers: Menhat Helmy bridges worlds through art
- The final part of this year’s series highlighting pioneering female artists from the Arab world in honor of Women’s History Month
DUBAI: From scenes of local village life to images inspired by the cosmos, the late Egyptian modern artist Menhat Helmy’s oeuvre was a varied one.
Helmy was born in Cairo in 1925 into a large family of seven sisters and two brothers. She died in May 2004.
One relative who remembers her fondly is her eldest grandson, Canada-based journalist Karim Zidan, who grew up with her paintings hanging in his family’s house.
“Though she passed away when I was 12 years old, I still have vivid memories of her and our interactions. I remember her helping me build Lego sets and complete jigsaw puzzles,” Zidan, who manages Helmy’s estate, tells Arab News.
Long before she became a grandmother, Menhat was a bright young woman who studied at the Egyptian capital’s High Institute of Pedagogic Studies for Art in the 1940s. Next came a great opportunity to study at the famed Slade School of Fine Arts in London, during the 1950s, reportedly making her only the second Egyptian woman to study there.
“London played a pivotal role in her career,” notes Zidan. “It was during her time at the Slade School of Fine Arts that she discovered printmaking, the art form that would come to define her work and legacy. My grandmother produced her first etchings at the school.”
The 1970s saw Helmy delve into abstraction, as in her 1973 masterpiece “Space Exploration.”
“During this time, my grandmother was fascinated with space and technological developments such as the computer,” explains Zidan. “She sought to depict her newfound fascinations in her work, but the geometric synergy in it is rooted in her appreciation for Islamic art. All of this is clearly represented in ‘Space Exploration,’ which can be viewed as a depiction of the night sky; constellations in perfect formation; a universe in flux; or even electrons flowing through a circuit board.”
Today, Helmy’s artworks can be found in the UAE’s Barjeel Art Foundation, the Jordan National Gallery of Fine Arts and the UCL Art Museum in London.
“The variety of her oeuvre, coupled with the sheer complexity and avant-garde nature of the work, is precisely what makes her such a pioneering figure in modern Egyptian art,” Zidan concludes.
Athr Foundation fosters creativity with Bait Shouaib open studio
- Bait Shouaib offers an immersive and supportive environment, fostering creativity and cultural exchange among the rich heritage of its surroundings
- During the residency, artists learned about the Al-Balad district from the perspective of a local inhabitant, resulting in studio presentations and site-specific installations
JEDDAH: The Athr Foundation has launched the first open studio at Bait Shouaib, an artists’ residential program located in the heart of Al-Balad.
Bait Shouaib offers an immersive and supportive environment, fostering creativity and cultural exchange among the rich heritage of its surroundings.
During the residency, artists learned about the Al-Balad district from the perspective of a local inhabitant, resulting in studio presentations and site-specific installations.
One artist, Badr Ali, told Arab News: “My memories of Al-Balad were from childhood, where my mom warned me of its rough and dangerous nature. Coming from Germany, I took a hiatus from art and decided to join this residency for inspiration. I was struck by the district’s homogeneity and outdated toys, sparking research on their intended audience. These toys, originally meant for Umrah migrants, now seem out of touch with today’s tech-savvy kids.”
He added: “Through my art, I explore the irony of these toys in a district that has undergone gentrification. My painting highlights the decay of mass-produced toys, using glitter and embellishments to emphasize the contrast between superficial esthetics and inherent quality issues. This residency in Jeddah has been a unique experience, different from my previous ones in France, Germany, and the UK. The cultural nuances and art scene in Saudi Arabia have presented new challenges and inspirations for my work.”
The intimate perspective offered by the artists has deepened their understanding of Al-Balad’s rich cultural heritage. The night-time festivities during Ramadan added an extra layer of enchantment.
Artist Tamara Kalo said, “This residency program has been really inspiring. I feel like there are so many things I wanted to do and not enough time. But, also, that’s the beauty. Maybe it’s like you get to explore little bits and pieces of things that are inspiring, then you do what you can and it still opens doors for other things in the future.”
On her artwork, she said: “The bedspace is a realm of the subconscious, holding tensions of dreams and nightmares, comfort and discomfort. By intertwining my body with a green ribbon on the bed frame, I create a cage-like enclosure for imaginative safe space. The green screen material offers infinite representation possibilities, blurring the line between material and immaterial through video overlay. This references the virtual world as a collective subconscious that interrupts our rest. The roshan-turned-camera work brings the public into private space by capturing direct light reflections.”
And Abdulla Bahiji’s innovative approach to reimagining the urban landscapes of Jeddah and the Hejaz region involved transforming concrete blocks into biodegradable incense burners infused with scents and flora.
Reflecting on his experience as a newcomer to Al-Balad, he said: “As a first-time dweller in Al-Balad, I found myself captivated by its essence, enveloped in a rich tapestry of scents ranging from Jawi bakhoor to fish, oud to meat. These fragrances not only altered my perception of time but also served as tangible markers of the city’s evolving narrative. Investigating the history of Al-Balad, I uncovered the remarkable resilience of the local businesses as they transitioned from traditional to medicinal products, showcasing the city’s adaptability.”
The curator of the open studio, Alana Alireza, said: “In my role I oversaw the coordination of two artists and a researcher to cultivate a harmonious and collaborative workspace. This led to the creation of a reflective essay inspired by my time in Al-Balad, exploring the themes of scent and nostalgia.”
Bait Shouaib, hosted by the Athr Foundation offers a transformative experience for artists worldwide. The four-week residency provides a fully equipped studio space and facilitates cross-cultural dialog, heritage exploration, and artistic development.
Meet Abdullatef Alrashoudi, the Saudi baker making it big in Paris
- The former surgeon turned Cordon Bleu graduate incorporates flavors from his homeland into his high-end bakes
LONDON: Five years into his medical career, Saudi surgeon Abdullatef Alrashoudi hung up his stethoscope for the final time.
It was the morning of his 30th birthday, and an offer had recently landed in his inbox from Le Cordon Bleu, the prestigious Parisian culinary school that has trained luminaries from American chef Julia Child to Mary Berry, one of the original judges on “The Great British Bake Off.”
Now 34 and running his own café in one of Paris’ trendiest neighbourhoods, Alrashoudi looks back on that email as a turning point in his life.
“It was the biggest gift,” he says. “Baking had always been my dream, and medicine was showing me it was not the right path.”
After the switch, which he admits left his hospital colleagues “shocked,” Alrashoudi’s career has gone from strength to strength. Nine gruelling months studying bread dough, baking and boulangerie techniques led to spells working in leading Parisian restaurants — and finally to a place of his own.
LÂM — which combines Alrashoudi’s nickname ‘Latif’ and ‘âme’, the French word for ‘soul’ — has been open for just over six months, but is already welcoming a steady stream of regulars through the doors.
The airy, mineral green-fronted space sits opposite a bubble tea shop and art gallery in a “hip, up-and-coming” neighbourhood just off the French capital’s Place de La République.
In the window, a hand-built La Marzocco machine from Italy, in the same vibrant green as the Saudi Arabian flag, churns out rich cups of coffee from the high-end Parisian brand Coutume.
These aromatic brews are accompanied by delicate counter bakes that fuse traditional French techniques with enticing Middle Eastern flavours — the nutty richness of tahini, the sweet crunch of pistachios, the fragrant allure of rose.
Alrashoudi, who hails from the date-rich province of Al-Qassim but grew up in north Riyadh, explains that, instead of a cinnamon roll, the café serves a black-lemon version inspired by the Saudi dessert klēja, made with soft brioche dough, honey, and biscuit.
Other inventive options on the menu include zaatar and feta buns, bakes mixing chocolate and cardamom, plus a tahini cookie, for which he uses the classic French technique of burned butter to add “a deeper flavour”.
Since opening in September, LÂM has quickly become a popular spot. While most patrons are “local to the street,” Alrashoudi, who is fluent in French, is hopeful that the coming months will bring more Khaleeji visitors — especially in the run-up to the Olympics, which will be hosted in the city this summer.
But before millions of visitors from around the world descend on Paris for a month of sporting action, Alrashoudi is focusing on getting through Ramadan, with fasting hours in the French capital running from around 5.30 a.m. until 7 p.m. this year.
To mark the holy month, he is serving Saudi dates with every coffee, and plans to continue that after Ramadan finishes because it is “working really well” with customers.
And while you can take the baker out of Saudi, you can’t take the generous spirit of Saudi out of the baker. In keeping with the principles of hafawa (hospitality), Alrashoudi holds back a cup of coffee every night for a fasting Tunisian restaurateur working next door.
Alrashoudi has already become known in the neighborhood as ‘the Saudi chef’ and his customers are “always asking” about his homeland — particularly the cultural transformation that has swept through the Kingdom in recent years under Crown Prince Mohammed bin Salman’s Vision 2030.
The young baker credits much of his success to those changes. It was the Crown Prince’s own Misk Foundation that granted him a scholarship to study at Le Cordon Bleu alongside a group of other young Saudis, who have since gone on to lead kitchens in the Kingdom and beyond.
“When I was growing up many people did not know about Saudi, but in recent years that has changed,” says Alrashoudi, who acknowledges that LÂM is one of a small number of Gulf culinary spots around the world positively influencing perceptions of the region.
But despite growing representation of Khaleeji culture on the global stage, for most people Arabic cuisine still predominantly conjures images of Levantine dishes such as shawarma, hummus, and falafel.
This is reflected in the culinary landscape of major cities, with TripAdvisor figures revealing that London and New York City combined have only one Saudi Arabian restaurant, despite hosting hundreds of Lebanese and Egyptian eateries.
Alrashoudi believes this needs to change, particularly at a time when diners are increasingly interested in broadening their horizons.
“The government has been trying so hard to have people come and visit Saudi Arabia and to export our culture,” he says. “It’s where I am from and I love it — now it needs to be experienced by the world.”
Abdullatef Alrashoudi’s orange saffron muffins
Ingredients:
200g sugar; zest of 2 oranges; 2 medium eggs; 105ml olive oil; 2 tsp vanilla extract; 300g all-purpose flour; 1/2 tsp baking soda; a generous pinch of salt; 60g almond flour; 120g buttermilk; 120ml orange juice; 20g sugar; a pinch of saffron
Instructions:
1. Mix 200g sugar with the orange zest until the mixture is fragrant and the sugar is slightly moist — this helps release the oils from the zest, packing a punch of orange flavor.
2. Crack the eggs into the sugar-zest mixture. Whisk vigorously until fully combined. Then add the olive oil while whisking. You want it all emulsified, giving your muffins a beautiful, light texture. Then add the vanilla essence.
3. In another bowl, whisk the all-purpose flour, baking soda, salt, and almond flour together.
4. Make a well in the center of your dry ingredients. Pour in the egg, oil, and zest mixture. Gently fold everything together — just enough to combine.
5. Fold in the orange juice and buttermilk. The mixture should now look golden. In a separate bowl, mix 20g sugar with the saffron to sprinkle on top of the muffins.
6. Spoon the batter into muffin tins. Sprinkle with the saffron-sugar mix. Bake in a preheated oven at 200°C for 10-15 minutes, or until the muffins are golden and a skewer comes out clean.