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Stewart Copeland

Stewart Copeland Set for Travel Channel Special Island Fever

Drummer Stewart Copeland of The Police is on a mission to soak up all the sun, fun and adventure THE ISLAND paradise of Bali has to offer in Travel Channel's ISLAND FEVER, premiering on Saturday, July 9 at 12:00 p.m. ET/PT. "You discover the rhythm of a place through the eyes of the locals," said Copeland.

Stewart Copeland Set for Travel Channel Special ISLAND FEVER

In the hour-long special, Copeland dives headfirst into the Java Sea to surf Bali's famous waves, drinks local moonshine in the rice fields and jams with a Balinese gamelan drumming group. He also shakes off his past with a purification ceremony at the ancient Temple of Tirta Empul and celebrates with a traditional monkey chant and fire dance at sunset.

Copeland is currently recording an album in Milan, and recently performed the European premiere of his score to the epic silent film version of "Ben-Hur" with the Orchestre Philharmonie du Luxembourg. Additional performances are scheduled for Switzerland and Austria.

ABOUT Travel Channel For virtual and active travelers who want to go on a thrilling quest; taste other cultures; enjoy the mystery of the unexplored; get a dose of epic adventure or a splash of wacky fun; there is no better daily escape than Travel Channel. Reaching more than 89 million U.S. cable homes, Travel Channel is the world's leading travel media brand. Fans also can visit Travel Channel for more information or interact with other fans through Facebook, Twitter, Pinterest and Instagram. Headquartered in Knoxville, Tenn., Travel Channel is owned by Scripps Networks Interactive, Inc., which also owns and operates HGTV, DIY Network, Food Network, Cooking Channel and Great American Country.


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Stewart honors Red Hot


Yesterday, Anthony Kiedis, Flea, Josh Klinghoffer and Chad Smith from Red ho Chili Peppers performed live at Will Ferrell & Chad's Red Hot Benefit Comedy + Music Show & Quinceanera, Shrine Auditorium, Los Angeles, CA, United States. April 24th, 2016.

Six drummers were on stage. Among them, Stewart Copeland.

Will Ferrell and Chad Smith's Red Hot Benefit Drum-Off

More information about the concert

Can't Stop 
Snow ((Hey Oh)) 
By The Way 
Higher Ground (with Will Ferell, Roy Wood Jr., Taylor Hawkins, Tommy Lee, Stewart Copeland and Fred Armisen)


Watch the entire show:

Another view from Stewart's back

Stewart Copeland on being a rockstar in a classical world

Stewart Copeland is a busy guy.

Stewart Copeland on being a rockstar in a classical world

When Downtown spoke to Copeland in late March, he’d just gotten off a 3-hour conference call, score-doctoring his Adolfo Bioy Casares-inspired opera, The Invention of Morel.

This same conversation was squeezed onto his calendar between two weeks on the road supporting his rock/jazz/chamber music quintet Off the Score and four West Coast dates performing his live score to the 1925 silent film Ben Hur: A Tale of the Christ. This followed hot on the heels of his debuted percussive concerto The Tyrant’s Crush, which took place not long after debuting new orchestrations for his Edgar Allen Poe-inspired opera The Cask of Amontillado at Dixon Place, which happened simultaneously with a New Opera Showcase workshop of Morel at Trinity Church.

Copeland has spent the last 30 years composing music for orchestra, film, TV, opera and ballet. He’s also a world-renowned drummer, an inductee in the Rock and Roll Hall of Fame, and a five-time Grammy-winner with the ‘80s band that originally made him famous, The Police.

It’s tempting to assume there are two Stewart Copelands: professional orchestral composer and performer by day, jamming rock star by night. But the two are really one and the same. Copeland is that rare bird of rockstar in a classical world, a wide, wild fury of flailing arms, eye teeth, polyrhythms and flying drumsticks infiltrating the lush, regimented tradition of the symphony. Copeland is the guy that brings a trashcan to a concerto.

On April 8 at the Schimmel Center at Pace University‘s downtown campus, Copeland’s Off the Score quintet brings him together with famed classical pianist Jon Kimura Parker, Metropolitan Opera Orchestra violinist Yoon Kwon, classical/jazz double bassist Marlon Martinez and electronic valve instrumentalist Judd Miller for the final night of their spring tour. Program selections may include classical standards, Copeland originals, a modern interpretation of The Police and possibly Aphex Twin. A genre-bending hybrid of charted music and jam session, Off the Score illustrates well how orchestral Copeland never strays too far from his rock roots.

Stewart Copeland on being a rockstar in a classical world

Downtown spoke with Copeland about this upcoming performance, the tension between art and commerce, Snoop Dogg and flouting expectation. He also gave us a tiny glimpse into what to expect next from him.

Your career is diverse and really complicated to describe. When you’re meeting someone for the first time, how do you introduce yourself?

Stewart Copeland: Father of seven. I guess “composer” is my day job right now. I still rock and roll [in the] evening for relaxation and recreation. But my day job is writing music for others to play.

Read the complete interview : by Kellie M. Walsh

From “Roxanne” to Ben-Hur

From “Roxanne” to Ben-Hur: The Police’s Stewart Copeland Talks Scoring a 1925 Silent Epic for a Live Audience

Copeland brings his adaptation to Valley Performing Arts Center and Segerstrom Concert Hall 

From “Roxanne” to Ben-Hur: The Police’s Stewart Copeland Talks Scoring a 1925 Silent Epic for a Live Audience

Long before Charlton Heston took the reins of a chariot in William Wyler’s Ben-Hur (1959), Ramon Novarro starred as the titular character in director Fred Niblo’s silent movie Ben-Hur: A Tale of the Christ (1925). In that era, film scores were usually played on an organ as live accompaniment. Enter Stewart Copeland, drummer for The Police.

In 2009, Copeland was tasked with scoring Ben-Hur Live, a theatrical adaptation of Lew Wallace’s original book. The show was scaled for an arena and toured in European cities like Munich, Rome, and London (heads up, Asia: it’s headed your way). Afterward, he was commissioned to create a similar experience with an edited version of Niblo’s film, only on a smaller scale. The result is MGMs Ben-Hur Composed by Stewart Copeland, taking place at the Valley Performing Arts Center on Wednesday, March 16, and at Segerstrom Concert Hall in Costa Mesa on March 18 and 19.

“It’s all money shots—it’s a cast of thousands,” Copeland says of the movie. “The spectacle is beyond what you can do today with CGI. They hold the shot. They don’t cut around to make it look sexy. The movie is about two hours and twenty minutes, and the stage production was about 90 minutes. The biggest challenge was figuring out how to make the story work in 90 minutes.”

Not that Copeland simply tacked his score on to a shortened version of Niblo’s movie. “I had to adjust both to each other,” he says. “The movie version is just huge—the Pilate scene is about three times as long than in the stage version—and I’m not going to cut a frame of that. I had to write a lot of new music for that. Similarly, the chariot race is much longer. [For the arena version] we figured out that the laps would take 24 seconds each. We get to the rehearsals and the laps take 18 seconds—oh shit. The guys doing the stunts are not reading the script. They do it when they are in the right position and are not listening to the music cue. As they worked the stunts, I had to carve up the music to the way the show actually ran. I had lots of music to apply that never made it to the arena show.”

Like most of us, Copeland was very familiar with the Heston film, but he finds the earlier movie to be superior. “It was much more powerful than what was later achieved with more technology and color,” he says. “I think the lead guy is much more sympathetic. Heston was a block of wood. Novarro has passion; he is alive. He towers in strength, he cowers in fear. It’s a real performance.”

Ben-Hur does not mark Copeland’s first foray into scoring films. He was first recruited by Francis Ford Coppola to provide music for Rumblefish and has since worked with the likes of Oliver Stone (Wall Street.) “Collaborating with a living director, as the humble film composer, your mission is to seek out and understand the director’s vision,” he says. “If the director is not in the room, I have to become the director and look at what’s there on the screen. I have to discern, particularly after re-cutting the movie, what the meaning of the scene is, what the emotional arc of the scene is, and what message goes with the scene.”

As a child, Copeland was first influenced by the music of Debussy and Ravel. Later in life he took an interest in rock ‘n’ roll. So would a young Stewart be happier about his future self’s career in film or with The Police? “I think he’d be amazed that both happened,” Copeland says. “As a kid, I distinctly remember daydreaming about having a guitar. Then I wished I had an acoustic and an electric guitar. Later I added a bass guitar. I thought, ‘That’s too much. Let’s stay real here.’ I remember chiding myself for dreaming too much. I now have five electric guitars, multiple acoustic guitars, a tuba, a saxophone, a baritone saxophone, and more. I think that kid would be really happy how things turned out.”

Source : has been rewamped

After several weeks of hard work, Stewart Copeland's official website has been totally rewamped.
The forum will soon be back.
(Congratulations to Eugenio, Giovanni and Stewart)

Visit it:

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