By John Q. Hosedrinker 
The General Entertainment Authority chair, Turki Alalshikh, announced that renowned composer Hans Zimmer will rework the Saudi national anthem, “Aash Al-Malik,” incorporating new instrumentation. This collaboration is part of Saudi Arabia’s broader image enhancement strategy, which also includes other projects discussed with Zimmer such as a Saudi-inspired musical and film scores. The current anthem, composed in 1947, will be modernized as the kingdom continues its ambitious economic and social diversification efforts.
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Saudi Arabia asking Hans Zimmer to rework their national anthem is certainly generating a buzz, and not just in the music world. The sheer audacity of the request – a nation renowned for its traditional values commissioning a globally celebrated composer known for his epic, often bombastic scores – has sparked a wave of online commentary, ranging from amused speculation to outright criticism. The initial reactions focused on the sheer unexpectedness of the pairing. The image of Zimmer’s signature, powerful sound blended with the traditional melodies of a Saudi Arabian anthem conjures up a strange yet intriguing fusion. Some commenters imagined a Dune-inspired rework, complete with soaring strings and a powerful, almost cinematic feel. Others, however, were less impressed, imagining the inclusion of throat singing or, more cynically, suggesting the rework would serve to drown out other, less celebratory sounds.
The idea of a simple “rework” rather than a complete composition is key here. This isn’t about replacing the existing anthem entirely but rather giving it a modern, perhaps more internationally appealing, sound. It’s akin to a celebrated chef enhancing an existing menu, adding their expertise to elevate the overall experience. This analogy, however, hasn’t stopped many from questioning the appropriateness of the endeavor. Some see it as a blatant example of “sportswashing,” using artistic endeavors to improve the nation’s image, effectively glossing over human rights concerns. The notion of a German-Jewish composer being entrusted with such a task also raised eyebrows, prompting commentary on the unusual nature of the collaboration, considering historical and political contexts.
Many comments highlight the irony, even absurdity, of the situation. There’s a recurring theme of skepticism, with many believing Zimmer will decline the project, citing concerns about artistic integrity and potential political ramifications. Others predict the potential for a truly epic anthem – a “banger,” as some put it – while simultaneously expressing concern about the cultural implications. The possibility of a Zimmer-composed national anthem has many dreaming up exaggerated, almost comical scenarios: an anthem arms race, a Hollywood Bowl concert showcasing his national anthem collection, and even suggestions for other collaborators, ranging from John Williams to Tool.
The underlying criticism focuses on Saudi Arabia’s human rights record and the potential for this project to serve as a distraction from ongoing concerns. The comments suggest this initiative is an attempt to present a more positive global image, potentially overshadowing negative perceptions. Some suggestions even went so far as to sarcastically suggest including sounds meant to mask or cover up unsettling realities, highlighting the cynical views held by a segment of the commentators. The very notion of the project itself becomes a microcosm of the larger debate about the relationship between art, politics, and international relations.
Underlying many comments is a fundamental question: is the national anthem itself the real problem? Some argue that the anthem’s current form might simply not resonate with modern audiences, leading to the need for a refresh. This perspective shifts the focus from purely political considerations to a more aesthetic one, suggesting the initiative is less about image control and more about updating a national symbol for a new era. This interpretation, however, doesn’t necessarily negate the ongoing criticisms regarding Saudi Arabia’s human rights record.
Ultimately, the decision of whether or not Hans Zimmer will accept the commission remains unknown, and the potential outcome of such a project is open to a wide range of interpretations. The online discussion shows a vibrant tapestry of perspectives, ranging from enthusiastic anticipation to scathing critique. The question of whether a reworked anthem can truly address the concerns raised or whether it will only serve as a symbolic gesture remains a topic ripe for debate, and perhaps, a soundtrack as epic as those created by Zimmer himself.