A Quote by Stewart Copeland

I've got Arabic music in my blood. — © Stewart Copeland
I've got Arabic music in my blood.
Ive got Arabic music in my blood.
It's complicated for my music to be accepted, even in Lebanon and the Arabic world - I sing in Arabic, but there's no lute, no classical instruments. Maybe with the Internet opening things up, things will change.
There's a big difference between the Arabic and Western scales. One uses quarter tone system and one doesn't. So in order for me to compose real Arabic scale melodies, I would need an Arabic keyboard, and I don't have one. So I had to compose Arabesque melodies.
It sometimes happens to me while writing, that I seek a word; mischievous as it is it appears in English, it appears in Arabic, but refuses to come in Hebrew. To some extent I made up my Hebrew. Unquestionably, the influence of Arabic is dominant, my syntax is almost Arabic.
There is a terrible thing that's been happening probably for the last 20 years or so and it's called the music business. And music isn't really business; it's work and you got to pay and you've got to buy your guitar or go into the studio. So there is a business side but when people say, "I'm going into the music business," it's not. It's about expression. It's about creativity. You don't join music, in my mind, to make money. You join it because it's in you; it's in your blood stream.
I listen to a variety of music. I like everything from old Arabic music to Portuguese fados.
All the sciences came to exist in Arabic. The systematic works on them were written in Arabic writing.
I lived in the Caribbean when I was a teenager, so I learned about Salsa and Cha-Cha and all these Latin Afro-Cuban music like Gillespie and Duke Ellington, also bridged with Jazz. But my mother is Greek, and so I've also listened a lot to Greek music. And through the years to Balcanic music to Arabic music because my father loved music from Egypt.
My mom spent like a decade of her life living in Paris, and I grew up listening to a lot of French music as well as Arabic music.
The Arabic states have to be integrated into the Iraqi reconstruction. We need the help of the Arabic community, which understands its culture. Americans arrive, invade, occupy.
I listen to a lot of alternative types of music: I listen to a lot of Chinese music, I listen to a lot of Asian music. It might surprise you, but I listen to a lot of Arabic music. And I don't care - music is music.
World music can be sometimes like the lumber room in which all the non-English singers are dumped. When you are singing in Arabic, no matter what your style of music or artistic proposition is, you are faced with some of that reality.
I had this desire to understand Islam better and then focus on the beauty of Arabic and Islamic cultures. And one of the first things to emerge was Arabic calligraphy, which was instantly inspiring.
I was at Edinburgh doing history of art, Spanish and Arabic. I was originally supposed to do Italian instead of Arabic but when I went to see one of the lecturers they told me I should really do something more curveball. So I did.
Woman at Point Zero I wrote during the '70s in Arabic. It came in English in '82. So, almost ten years' difference between the Arabic and the English.
I couldn't know about my culture, my history, without learning the language, so I started learning Arabic - reading, writing. I used to speak Arabic before that, but Tunisian Arabic dialect. Step by step, I discovered calligraphy. I painted before and I just brought the calligraphy into my artwork. That's how everything started. The funny thing is the fact that going back to my roots made me feel French.
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