Summarize this content to 2000 words in 6 paragraphs in Arabic During the time I spend with Stewart Copeland, the former Police drummer mimics the oscillating warble of a white-throated sparrow, the regular \u201cwhoop whoop\u201d of a woodpecker and the moaning call of a spotted hyena \u2014 one of his favourite species, he tells me, with a matriarchal social system in which females disguise themselves as males. \u201cTheir vagina looks like a penis,\u201d Copeland says animatedly. Someone at a table behind him jerks their head in our direction.The 10th greatest drummer of all time, according to a Rolling Stone top 100 list, is sitting in the bar area of a London hotel. He lives in Los Angeles with his wife Fiona, but has flown from New York following the Juilliard School\u2019s premiere of a drum ensemble piece he has composed based on Edgar Allan Poe\u2019s poem \u201cThe Bells\u201d. It typifies his range of output since The Police came to a halt in the mid-1980s. Opera, ballet, film scores, soundtracks for television and video games, cross-genre collaborations: if Rolling Stone compiled a list of the most varied r\u00e9sum\u00e9s in pop and rock, Copeland, 72, would surely be near the top again.\u00a0His new album unites him with a non-human cast of vocalists. Wild Concerto is based around the sounds of animals screeching, growling and twittering. The music was recorded by an orchestra at Abbey Road Studios and features characteristically deft work by Copeland on drums. The animal noises are by renowned nature recordist Martyn Stewart, who over the course of 50 years has amassed a library of almost 100,000 field recordings.There are 12 instrumentals, or songs if the twitterers and screechers are considered as singers. \u201cI have to make a confession,\u201d Copeland says. \u201cAlthough all these animals are beautifully arranged in close harmony, the reality is that some of the performers would predate on the other band members.\u201d He gives a mischievous smile. \u201cNot unlike some rock bands I know.\u201dThe album is being released in the run-up to Earth Day next week, an annual event promoting biodiversity. A dispiriting number of the featured species are endangered. But in contrast to Martyn Stewart and the album\u2019s producer, Ricky Kej, Copeland is not motivated by environmental concerns.\u201cI\u2019m not so much the tree-hugger of this team,\u201d he says. \u201cI hope it will contribute to raising awareness. But no, I wasn\u2019t thinking of saving the planet, I was thinking: \u2018That\u2019s a cool sound.\u2019\u201d\u00a0The vocalisations on the album are mainly mating calls. \u201cThey are saying: \u2018I\u2019m here, where are you? Let\u2019s get it on\u2019, which is sort of the same as what humans do on the disco floor,\u201d Copeland says. The musical style is at once playful and sophisticated, with an almost jazzy sense of swing. The warbling sparrow is matched with flute parts; howling wolves are shadowed by trombone. Meanwhile, Copeland\u2019s delicate cymbal-work glints like sunlight.I mention zoomusicology to him, the study of animal communication and musicality. The concept is new to Copeland, whose ears prick up. \u201cHang on a moment,\u201d he says. \u201cOne guy does it \u2014 moi \u2014 and they\u2019ve got a whole word for it?\u201dYes, and I have bad news for him: Pink Floyd got there before him when they recorded a border collie barking to a blues song on their 1971 album Meddle.\u201cAssholes,\u201d Copeland says drily. \u201cI have this problem with Pink Floyd all the time. The other one is the dotted eighth note.\u201d\u00a0He raps the table to illustrate how this musical progression works. \u201cThe repeat is timed to land there, which is very familiar from any Police record, on my drums or the guitar. Andy [Summers, guitarist] and I argued about who came up with it. Then [U2 guitarist] Edge picked it up and it became part of any guitarist\u2019s vocabulary. But it turns out that Pink Floyd did it \u2014 a very slow version, but it\u2019s that same dotted eighth note.\u201dCopeland is entertaining company, with colourful musical plumage that he takes droll pleasure in fluttering. His father, Miles, was a US spy who co-founded the CIA, and also a jazz trumpeter. His mother, Lorraine, was a Scottish archaeologist. She inculcated a love of classical composers such as Ravel and Stravinsky, which \u201chad much more impact\u201d on him, in his words, than his father\u2019s jazz.Born in the US in 1952, Copeland spent much of his childhood in Lebanon and England, where he went to boarding school. He was a member of the London prog-rock band Curved Air before forming The Police in 1977 with Sting. They were soon joined by Andy Summers. As shown by the dotted eighth note, the threesome had a rare ability to marry adventurous musicianship with mass appeal.Initially, they had to disguise their ambitions, a bit like the spotted hyena, so as to fit with punk-era shibboleths about lack of adornment and technique. Copeland believes that these constraints helped them to evolve.\u201cFor one thing, it taught Doris how to write a hit song,\u201d he says, coming up with a jokey code name for Sting in order to avoid attracting further attention from neighbouring tables. \u201cHe had the instincts needed to write hit songs, such as beautiful melodies, but being surrounded by that world is what produced those results.\u201dThe Police reunited for a world tour in 2007 and 2008 but separated again afterwards. Copeland likes to compare himself and his former bandmates to silverback gorillas, competing for primacy with much chest-beating and noise. He had a particularly fraught working relationship with Sting, with whom he is otherwise friendly. Police lore abounds with tales of the pair clashing over how songs should be played.He and Sting \u201cfigured this out in band therapy decades later: the dichotomy of our purpose in making music.\u201d The singer wanted his songs to be played exactly as he intended. But Copeland is less interested in the sanctity of songs than the expressive possibilities of music itself, the endless play of notes and pitch and timbre available to a gifted instrumentalist.\u201cIt is generally accepted that everything should serve the song,\u201d he says. \u201cBut I bang shit because I like to bang shit. I don\u2019t give a rat\u2019s ass about the song. It is there to serve me and make the band look cool. The song is like the gasoline in the car. The car is not going anywhere without gasoline \u2014 but it\u2019s not the car.\u201dWild Concerto\u2019s focus on nature recalls Sting\u2019s much-derided rainforest activism, which led to a South American tree frog species being named after him (Dendropsophus stingi). \u201cEveryone sneers at that. I confess I did a bit of sneering myself,\u201d Copeland says. But he praises the singer for his achievements.\u201cHe did something really significant. But no good deed goes unpunished. The first time I saw a brickbat being thrown at Doris was as a result of him doing a profoundly good deed. That\u2019s sort of why I avoid the politics and the tree-hugging. I just bang stuff and make music, and hopefully some good will derive therefrom.\u201d\u2018Wild Concerto\u2019 is out on April 18 on Platoon Records<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic During the time I spend with Stewart Copeland, the former Police drummer mimics the oscillating warble of a white-throated sparrow, the regular \u201cwhoop whoop\u201d of a woodpecker and the moaning call of a spotted hyena \u2014 one of his favourite species, he tells me,<\/p>\n","protected":false},"author":1,"featured_media":279156,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-279155","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/279155","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=279155"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/279155\/revisions"}],"predecessor-version":[{"id":279157,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/279155\/revisions\/279157"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/279156"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=279155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=279155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=279155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}