Following a series of critically acclaimed sell out performances DUCTAC is reprising the comic smash hit play Love, Loss, and What I Wore written by the late Nora Ephron (writer of When Harry Met Sally and Sleepless in Seattle) and her sister Delia

Like the book, Love, Loss and What I Wore uses clothing and accessories and the memories they trigger to tell funny and often poignant stories that all women will be able to relate to.

What have you been listening too lately? I’ve been listening to all kinds of music. From Bossa Nova Jazz to Techno. I love all kinds of music 

What can we expect from your Channel Zoo set?
My goal is always to make people dance so it will be a energetic set for sure

Article Via The National 

Written by Hugo Berger

Construction workers are an ever-present part of the landscape of the UAE. Most days we see them toiling on building sites, we overtake their buses on the motorway, or wander past them in parks. But while we may share the same physical space, it’s an uncomfortable truth that few of us have any interaction whatsoever with them.

To redress this unfamiliarity, the Dubai-based Lebanese filmmaker Mahmoud Kaabour decided to make these labourers’ lives the subject of his latest documentary, Champ of the Camp.

His portal into their world came through the Western Union Camp Ka Champ, an annual Arab Idol-style knock-out competition, organised by Right Track Advertising, to find the best singer of Bollywood tunes among the blue-collar workers who inhabit the UAE’s labour camps.

Last year, the sixth edition of the event attracted about 2,000 entrants from almost 100 camps in Dubai, Sharjah, Abu Dhabi, Ajman, Ras Al Khaimah and Fujairah – all vying to win glory, fame and a sizeable cash prize.

Kaabour heard about the contest and felt it would make a fascinating topic for his third full-length feature.

His first film, Being Osama, followed six Canadian-Arabs named Osama and examined the burden of sharing their first name with Osama bin Laden in the post 9/11 world.

His follow-up effort Teta, Alf Marra (Grandma, A Thousand Times) was a poignant portrait of his own feisty, sharp-witted grandmother. Both pieces won him worldwide acclaim.

Yet, despite his renown, gaining permission to film within the labourers’ living quarters proved somewhat challenging.

It took two and half years of intense negotiations to secure the permits from the camp owners and the government.

It was the raft of negative media coverage on the supposed exploitation of workers and the squalid conditions within the UAE’s labour camps that made Kaabour understand the reluctance to allow him entry.

“Over the years there have been many western news agencies and media outlets that entered the camps illegally and filmed in a rush, then slapped a voice-over over the whole thing, painting a picture of doom,” says Kaabour.

“Most of the time they do this without even speaking to any labourers. I think that camps have become a leading instrument in the propaganda against the UAE, and not rightly so.”

Finally, after convincing the authorities that he would present an objective portrayal, he was allowed in.

So, throughout the summer of 2012, his crew trailed a number of golden-voiced hopefuls as they progressed through the heats to the final. His movie intersperses the drama and excitement of their performances with their thoughts about their lives in the UAE.

But as his interviewees’ knowledge of English and Arabic was minimal, the language barrier proved a major hindrance.

“To overcome this I had to surround myself with a team of assistant directors who speak Urdu, Hindi, Bangladeshi and Bhojpuri,” Kaabour recalls.

“Then I had to train my assistants with the questions that I wanted answered and then train them to take the interviews in different directions.”

This meant he could not control the flow of the conversations with the subjects.

“In everything I filmed, I had to go back to the editing room and wait for the subtitles to come in before I would know what the conversations in every scene were about.

“So it was an episodic approach as opposed to previous films I’ve done, where it’s me asking the questions and being inspired to ask something else based on the answer.

“It required a lot of patience. I think the results have been stellar, but it was frustrating at times.”

From his experiences, Kaabour said “some of the camps were nicer than anyone would expect. Some of them had really impressive amenities.”

“I think the question of the camps is based on the issue of contrast,” he explains. “If you compare them to five-star Dubai that many people live in, the contrasts are high.

“But the contrasts are equally stark if you compare the camps to the slums or villages of India or Pakistan, where many of these labourers come from. They will tell you it’s a lot nicer here.”

He accepts that the men do suffer at times, but usually not through the travails of their workloads or the state of their accommodation.

“What was most interesting for us to discover was that the biggest hardships for these men is not physical or situational,” he explains. “It’s more the facts that they miss their families terribly and they don’t see them for years while working in the UAE.”

This is reflected in the tunes they choose to sing in the competitions. Often they opt to perform songs with lyrics about missing their homes or pining for sweethearts.

“This emotional and introspective dimension of their lives in the UAE is what the film is about – and how they express all this longing in song,” he says.

Despite his conclusions, Kaabour says he expects some overseas critics to accuse the film of being a pro-UAE, government propaganda piece, with it sanitising the harsh realities of the labourers’ lives.

Kaabour insists this is not the case.

“I’m very grateful that the government gave us permission to enter these camps. But my film is by no means funded by them. It is entirely initiated by my company, Veritas Films.”

Kaabour has almost finished post-production and a trailer for the film will premier at the British Council’s documentary series on May 14.

Soon afterwards, the producers will pitch it to film festivals across the world, hoping to gain a global audience.

Nevertheless, Kaa-bour believes it will have most resonance among moviegoers in the UAE. Before that happens, however, it must secure approval from the National Media Council.

“I really hope we get their permission,” says Eva Sayre, the film’s producer. “It would be hugely beneficial for people in this country to see it. It would be such a shame if it only got an international showing.”

Kaabour agrees, as he contends his movie will benefit all who watch it – whether at home or abroad.

“This is a truly inspiring story about other people who come to work here to support their families back home. It’s a positive story and for once it’s told by the labourers and no one else.”

The trailer for Champ of the Camp will be shown at 7pm on Tuesday as part of the British Council’s documentary series at Vox Cinemas, Marina Mall, Abu Dhabi, followed by a screening of the Oscar-winning documentary Searching for Sugar Man. Entry is free, but tickets are on a first-come basis. For more information, visit www.britishcouncil.org/uae

Win tickets to Nasimi’s big beach fest with Ibiza’s infamous Zoo Project. All you need to do is answer this simple question…

Where did The Zoo Project start? Send your answers to tayla@ohmrecords.com

Good Luck! Oh and PS we totally need you to LIKE our Facebook page to.

The Zoo Project presents ‘CHANNEL ZOO IBIZA’, Friday May 17th

After a great success and due to popular demand The Zoo Project is back in town!!

Date: Friday 17th May 2013

Featuring some special guests DJ’s:

♫ JAY SHEPHEARD (Retrofit, Compost, Buzzin Flythe)
♫ MICHAEL JAMES (Zoo Project, Slapfunk)
♫ JC PINTO (OHM Records/One28 Recordings)
♫ ADAM (OHM Records/ Warped)
♫ HOOLZ (Faciendo)
♫ DAVID CRAIG Nasimi Beach resident DJ
♫ SMOKINGROOVE Nasimi Beach resident DJ

* In association with OHM Events*

Dress code: Beach Chic

★ TICKETS & TABLES ★
•••••••••••••••••••••••
Entrance Policy:
Free for ladies between 2-7pm
Gentlemen AED50 from 2-7pm. AED100 after 7pm.
AED 100 After 8pm

For VIP Tables call 055 200 4321/ 055 200 4581
or email nasimibeach@atlantisthepalm.com

Normal club policies apply. Couples and mixed groups receive preference. Management reserves the right to refuse entry.

Wednesday May 1st at the Music Room, Bur Dubai’s loud and live drinking den see’s Dubai based ‘artistes’ Noush Like Sploush, DD Foxx, Sasha & N1yah, Dana & Layla and DJ Trina perform live on stage, all hosted by Radio 1′s very own Sheena.

FORTLOM has established itself as a solid showcase for local talent.  Paying homage to the pure passion in the local music scene FORTLOM is a community and an institution dedicated to pushing and developing talent in the region.

For more visit www.facebook.com/FORTLOM

SURGE is a non profit organization that improves access to clean, safe water for life. Having created awareness across the globe Surge embarks on the UAE with a series of events to spread awareness across the city.

Every 20 seconds a child dies as a result of water-borne diseases; most of these victims are  less than 5 years old.

Launching Wednesday 24th at Mojo Gallery, Al Serkal Avenue is 20 Seconds, a night of Art and Entertainment benefiting water. 20 seconds aims to increase awareness of the global water crisis by showcasing socially and visually stimulating art that represents Surge’s work around the world. The evening will include  music, games, silent auction and exhibits all cleverly engineered to be symbolic of the  ’20 seconds’ theme.

For further information visit the Facebook event page here. Or you can make a donation on the site and help a village with clean water for life.