Cultural appropriation?

Cameron Mackintosh and the other sore losers re: The Perfumed Garden seem to be spreading a rumour that I'm somehow appropriating the Middle East. Honestly, that's not the case. In fact, they asked me to provide some of my tunes for the people in Gaza. All the Middle Eastern musicians mostly read sheet music, and thought that they were inventive tunes worth teaching to dying children. I used synthetic scales that aren't specific modes. Those are specific to times of day, hence inappropriate for a theatre piece that takes place over three hours or so. It always annoys the serious composers when I write timbral/gestural music with tunes. They aren't able to write a melody that sings... - While it's intended for the stage, I think that we could tour it in the Pacific in a new way. Essentially, we'd spread it over several days, with a few stories each day. I'm supposed to be leading an expedition there in 2030 to share my new tuning system.