Copeland will perform with the Meadows Symphony Orchestra at the Meyerson Symphony Center.
Born in Virginia, he grew up in Egypt, Lebanon and London. After settling behind the drum kit with the Police in 1977, Copeland played everywhere from New York’s Shea Stadium to the Tokyo Dome. But he says he holds a special place in his heart for North Texas.“Dallas-Fort Worth and I go way, way back,” says the 71-year-old drummer-composer. “One of the high points in my life was with the Dallas Symphony at the Meyerson, with those five crazy Texans in D’Drum,” he remembers.
Since the Police split up in 1986, you’ve been composing for ballet, opera and TV, but mostly for film. How does film work differ from composing for rock ‘n’ roll?For me, in a rock band, I just bang s---, and if I’m writing songs, I hammer them out on a guitar with my three or four chords that I know. I did write the original songs for the Police, but then as soon as Sting got in the saddle with Andy Summers and harmonic sophistication , that’s when the hits started to come.
You had a unique childhood. Your dad was a member of the CIA, and you grew up in Cairo, Beirut and London. How did living in all those places influence your drumming in the Police?It had a pretty big effect. You could call me a “diplobrat.” I had left America when I was 2 months old and I didn’t get back until I was, like, 18. America was a shining city on a hill for me. I was the most patriotic American alive, because I never saw the place.
Cultural appropriation comes in many shapes and forms, and some of it is wrong, like when you take textiles made in Nepal, and make lots of it and sell it at Nordstrom for a fortune without compensating the source.Nobody — white, Black, yellow, red or green — can play American music without having appropriated from Black culture.
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