An open letter to Stewart Copeland
Posted: 13 Mar 2007 15:30Bois-Colombes (France), March 12th, 2007
Dear Stewart,
It is a complex exercise to write a letter to an artist you like, especially when it is a star. Does it even have a sense? Yet: when you’re a fan, you have 1,000 reasons not to do it. When you involve your pen or your keyboard in this adventure, you quickly realize how difficult it is to be original as you take the risk of sounding commonplace writing “I like very much what you do”. Then, you know it is quite unlikely your letter will reach the targeted eyes. Even if it does, it is not sure the addressee will pay attention to your letter, as he’s flood with thousands of others… This process is even more difficult to achieve when the artist is part of a worldwide announcement that has put the planet in effervescence, because as a fan you may seem opportunist. This is what made me hesitate so long. Today, I told to myself : waiting for 2008 to post such a letter may seem even more opportunist. So I thought that posting it on this forum may increase my chances to be read, even if I have the impression to strip off…
Here we are… I am 37, I live near Paris, France. I have 2 children, a 7 year old daughter and a 3 ½ boy and I’m not the kind of person that sings the praises of somebody. I have written this page as a self chronology, trying to say “I like very much what you do” in a not-so-schmuck way… and to show how you have impacted my musical education.
As a matter of fact, I started this letter in 1982: aged 12, my first time listening to The Police was during an afternoon at a school pal flat. It was Zenyatta. He had pinched the tape from his 15 year old sister. I liked it immediately. Something about the rhythm and the melodies. At the time pop/rock music was often a dull work on these sides. This music was different. And even as a teenager rookie I was able to realize your drums played a big part in the innovation. I could hear the rhythmic structure of your music was not common. The reggae input, mixed with rock beats, was definitely more sophisticated than the common backbeats flooding our ears in the 80’s. At this moment I first saw your face and name in the album booklet. After this discovery I bought the other albums with my pocket money and they quickly became part of my musical references.
1983: after the 4 albums, I have a big expectation, and I’m not the only one. I rush at the FNAC (the French equivalent to HMV at the time) to purchase Synchronicity. This is the album I have the most listened to in all my life. Murder by numbers is definitely one of my favorite songs ever, and the drums intro has given me gooseflesh for 24 years. If I had one single wish to do, it would be “play it again, Stew…”.
1984: desperately looking for news from you guys… But from a fan perspective it didn’t smell good… Wondering if there would be some new album or live performance of the band. At the time, no internet, no Google, no cell phone… Only hope could keep me together, but nothing came up.
1985: I am on a family week-end in Normandy, and it’s raining on the sunday afternoon (it’s always raining in Normandy ;o)). We watch a TV program about animals. The lady who presents says: “and now ladies & gents, a very special sequence, taken from a new movie by a rock musician”… Then you appear in a cage under a baobab tree, playing the drums, surrounded by excited lions… I just can’t believe my eyes. The lady explains you have just shot a movie: The Rhythmatist. From this moment I start searching for news, looking at every theatre frontage, but in vain. After many efforts I can just find the audio tape which I find really good. Your style has developed and enhanced. I’m really fond of “Koteja / Oh Bolilla”, “Samburu Sunset”, “Serengeti long walk”… These melodies are still in my head today. Earring you in this style is really good. This album is one of my favorites (again), and I’m even more proud of this because here in France there are not so many people who know it apart me and my cat (I hope I don’t drop a clanger, but it’s true !). The movie was never released in France. Many years later, I will manage to buy the video tape on eBay.
1986: the only news is a new version of Don’t stand so close to me. I have to admit: at first I found it cheesy, like an attempt to revamp the original with a drumming machine sound, careless of the Stewart touch. Never mind. I’m desperately looking for a live performance of The Police. I remember I called A&M France to ask if the project was feasible or not. And how disappointed I was after the lady told me “no”. There’s an anecdote I like about 1986: I bought Peter Gabriel‘s So. Played it. First sound of the first track (Red Rain) is a hi-hat, in a 10 seconds sequence, with synthesizers in the background. I remember I told to myself: “this IS Stewart Copeland”. I checked on the credits: I was right! How proud I was! Just the hi-hat : your signature.
1987: Rumble Fish. Discovering another dimension of your work.
1988 – 2005: listening, listening, listening. I don’t remember exactly when but I finally find the video tape of the Synchronicity concert in Atlanta. I’m so glad as it fills my expectation of seeing you play (I was too young before to go to a rock concert when The Police were touring, and until a recent period that was one of my biggest musical regrets).
2005: discovering your website(s). Happy to have some fresh news. I wish I could have seen you at the Notte della Taranta, but I got the information too late.
2006: I can’t believe my eyes reading on you website the announcement of your movie Everyone stares: The police inside out… The concept is extraordinary. But after the Rhythmatist frustration (not released in France), I feel wary… The big difference between 2006 and 1985 is that now I got the technology… Then I start scanning the web to purchase it wherever it is available. Finally it happens very simply: one week after, I find myself at the Virgin Megastore on the Champs-Elysées. My eyes meet a shelf and on the shelf there is… the dvd! I rush on it, rush at the cashier, rush home. This is a precious document, and I have to say it filled me with emotion. Beyond the musical, human, technical and intimate dimensions, it helped me understand there is a dark side at being a fan. You mention it in the movie, fans are full of good intentions, they want to give, but often all what they do is take your energy, just like a vampires. Your movie helped me being aware of this. Now I feel a mix of guilt and nearness.
I also learn the sad information about your brother’s death, and it got me sad as I had just seen the role he played in the Police adventure. Please receive my condolences for this.
2007: I will be there, if I can get some ticket. I have started a voodoo incantation to improve my chances to get some (actually the voodoo ritual on the ‘Policetour’ website has taken a much more prosaic turn). I’ll be an ant in this giant stadium with this giant crowd and these giant screens. Wary again, because of the big machinery, but happy to have a chance to see something I thought I would never see.
Yet, I could go on with an endless speech, but let’s make a long story short. I have been stamped with your style, for 25 years, and this is really true... There are many great drummers in the Music Hall of Fame. I could talk about Elvin Jones, Billy Cobham, John Bonham, or others: I know and appreciate many. The fact is: there is something you can’t explain when a style touches you in the deepest part of your emotional personality. Just like if the musician was unconsciously answering to an unconscious expectation you have. I’m part of a generation that has grown up with The Police, and this band obviously left their footprint in my mind. So much so that I didn’t give you up after 1984. This is not chance, it is due to subtlety and power, two words that sum up your style. Ever since, your musical identity has not taken a wrinkle, as it’s a cure against ageing…
So, this is neither about saying “I like very much what you do”, nor trotting out the past, but rather to say THANK YOU, for what you have given to me, for what you have given to us.
Dear Stewart, does everyone write the way I do?
With my deepest and respectful regards,
Alexandre Bercovy
France
PS : the webmaster has my e-mail.
Dear Stewart,
It is a complex exercise to write a letter to an artist you like, especially when it is a star. Does it even have a sense? Yet: when you’re a fan, you have 1,000 reasons not to do it. When you involve your pen or your keyboard in this adventure, you quickly realize how difficult it is to be original as you take the risk of sounding commonplace writing “I like very much what you do”. Then, you know it is quite unlikely your letter will reach the targeted eyes. Even if it does, it is not sure the addressee will pay attention to your letter, as he’s flood with thousands of others… This process is even more difficult to achieve when the artist is part of a worldwide announcement that has put the planet in effervescence, because as a fan you may seem opportunist. This is what made me hesitate so long. Today, I told to myself : waiting for 2008 to post such a letter may seem even more opportunist. So I thought that posting it on this forum may increase my chances to be read, even if I have the impression to strip off…
Here we are… I am 37, I live near Paris, France. I have 2 children, a 7 year old daughter and a 3 ½ boy and I’m not the kind of person that sings the praises of somebody. I have written this page as a self chronology, trying to say “I like very much what you do” in a not-so-schmuck way… and to show how you have impacted my musical education.
As a matter of fact, I started this letter in 1982: aged 12, my first time listening to The Police was during an afternoon at a school pal flat. It was Zenyatta. He had pinched the tape from his 15 year old sister. I liked it immediately. Something about the rhythm and the melodies. At the time pop/rock music was often a dull work on these sides. This music was different. And even as a teenager rookie I was able to realize your drums played a big part in the innovation. I could hear the rhythmic structure of your music was not common. The reggae input, mixed with rock beats, was definitely more sophisticated than the common backbeats flooding our ears in the 80’s. At this moment I first saw your face and name in the album booklet. After this discovery I bought the other albums with my pocket money and they quickly became part of my musical references.
1983: after the 4 albums, I have a big expectation, and I’m not the only one. I rush at the FNAC (the French equivalent to HMV at the time) to purchase Synchronicity. This is the album I have the most listened to in all my life. Murder by numbers is definitely one of my favorite songs ever, and the drums intro has given me gooseflesh for 24 years. If I had one single wish to do, it would be “play it again, Stew…”.
1984: desperately looking for news from you guys… But from a fan perspective it didn’t smell good… Wondering if there would be some new album or live performance of the band. At the time, no internet, no Google, no cell phone… Only hope could keep me together, but nothing came up.
1985: I am on a family week-end in Normandy, and it’s raining on the sunday afternoon (it’s always raining in Normandy ;o)). We watch a TV program about animals. The lady who presents says: “and now ladies & gents, a very special sequence, taken from a new movie by a rock musician”… Then you appear in a cage under a baobab tree, playing the drums, surrounded by excited lions… I just can’t believe my eyes. The lady explains you have just shot a movie: The Rhythmatist. From this moment I start searching for news, looking at every theatre frontage, but in vain. After many efforts I can just find the audio tape which I find really good. Your style has developed and enhanced. I’m really fond of “Koteja / Oh Bolilla”, “Samburu Sunset”, “Serengeti long walk”… These melodies are still in my head today. Earring you in this style is really good. This album is one of my favorites (again), and I’m even more proud of this because here in France there are not so many people who know it apart me and my cat (I hope I don’t drop a clanger, but it’s true !). The movie was never released in France. Many years later, I will manage to buy the video tape on eBay.
1986: the only news is a new version of Don’t stand so close to me. I have to admit: at first I found it cheesy, like an attempt to revamp the original with a drumming machine sound, careless of the Stewart touch. Never mind. I’m desperately looking for a live performance of The Police. I remember I called A&M France to ask if the project was feasible or not. And how disappointed I was after the lady told me “no”. There’s an anecdote I like about 1986: I bought Peter Gabriel‘s So. Played it. First sound of the first track (Red Rain) is a hi-hat, in a 10 seconds sequence, with synthesizers in the background. I remember I told to myself: “this IS Stewart Copeland”. I checked on the credits: I was right! How proud I was! Just the hi-hat : your signature.
1987: Rumble Fish. Discovering another dimension of your work.
1988 – 2005: listening, listening, listening. I don’t remember exactly when but I finally find the video tape of the Synchronicity concert in Atlanta. I’m so glad as it fills my expectation of seeing you play (I was too young before to go to a rock concert when The Police were touring, and until a recent period that was one of my biggest musical regrets).
2005: discovering your website(s). Happy to have some fresh news. I wish I could have seen you at the Notte della Taranta, but I got the information too late.
2006: I can’t believe my eyes reading on you website the announcement of your movie Everyone stares: The police inside out… The concept is extraordinary. But after the Rhythmatist frustration (not released in France), I feel wary… The big difference between 2006 and 1985 is that now I got the technology… Then I start scanning the web to purchase it wherever it is available. Finally it happens very simply: one week after, I find myself at the Virgin Megastore on the Champs-Elysées. My eyes meet a shelf and on the shelf there is… the dvd! I rush on it, rush at the cashier, rush home. This is a precious document, and I have to say it filled me with emotion. Beyond the musical, human, technical and intimate dimensions, it helped me understand there is a dark side at being a fan. You mention it in the movie, fans are full of good intentions, they want to give, but often all what they do is take your energy, just like a vampires. Your movie helped me being aware of this. Now I feel a mix of guilt and nearness.
I also learn the sad information about your brother’s death, and it got me sad as I had just seen the role he played in the Police adventure. Please receive my condolences for this.
2007: I will be there, if I can get some ticket. I have started a voodoo incantation to improve my chances to get some (actually the voodoo ritual on the ‘Policetour’ website has taken a much more prosaic turn). I’ll be an ant in this giant stadium with this giant crowd and these giant screens. Wary again, because of the big machinery, but happy to have a chance to see something I thought I would never see.
Yet, I could go on with an endless speech, but let’s make a long story short. I have been stamped with your style, for 25 years, and this is really true... There are many great drummers in the Music Hall of Fame. I could talk about Elvin Jones, Billy Cobham, John Bonham, or others: I know and appreciate many. The fact is: there is something you can’t explain when a style touches you in the deepest part of your emotional personality. Just like if the musician was unconsciously answering to an unconscious expectation you have. I’m part of a generation that has grown up with The Police, and this band obviously left their footprint in my mind. So much so that I didn’t give you up after 1984. This is not chance, it is due to subtlety and power, two words that sum up your style. Ever since, your musical identity has not taken a wrinkle, as it’s a cure against ageing…
So, this is neither about saying “I like very much what you do”, nor trotting out the past, but rather to say THANK YOU, for what you have given to me, for what you have given to us.
Dear Stewart, does everyone write the way I do?
With my deepest and respectful regards,
Alexandre Bercovy
France
PS : the webmaster has my e-mail.