August 26, 2025 • 8 mins
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Your boyfriend's in the news.
Speaker 2 (00:06):
My boyfriend you Sting?
Speaker 1 (00:08):
You love Sting? I did.
Speaker 2 (00:09):
I love them a lot when I was younger.
Speaker 1 (00:11):
Now we should be we should clarify the Police.
Speaker 3 (00:14):
Well, when we talk Sting, there's also a very famous
professional wrestler name Sting. So we're talking about Sting the
recording artist.
Speaker 2 (00:22):
Yeah, we're talking about Gordon Sumner.
Speaker 1 (00:23):
Yes, you know what.
Speaker 2 (00:25):
Sting was good, but he wasn't even my favorite in
the band. It was Stuart Copelan who was my favorite.
Speaker 1 (00:30):
The Police were a three piece band.
Speaker 2 (00:32):
Yep.
Speaker 3 (00:33):
By the way, isn't it weird that there was a
Gordon Sumner and yet Alf was named Gordon Shumway, Like,
I mean, that's very.
Speaker 1 (00:40):
Close to each other.
Speaker 3 (00:41):
So close Alf the television show character from the nineteen eighties. Okay,
So the Police were a famous three piece band. They
were English band seventy seven to eighty four. I think
they were active together. Sting was the mega star that
came out out of the Police. But they had what
they on like seventy five million albums. I mean, they
(01:02):
were obviously a massive, you know, massive success in the
late seventies and early eighties and probably the pinnacle.
Speaker 1 (01:10):
The Police was Every Breath You Take?
Speaker 2 (01:12):
Yeah, best selling song of nineteen eighty three?
Speaker 1 (01:15):
Is that their Stairway to Heaven? Is Every Breath You Take?
Is that they're big?
Speaker 3 (01:18):
Now any any well versed music fan, Well we'll get
to that in a second. Sting is now being sued
by the other two.
Speaker 4 (01:28):
Yeah, Andy Summers and Stuart Copeland. They're suing him over
unpaid royalties and also lack of co writing credits on
the song Every Breath You Take.
Speaker 1 (01:37):
Now.
Speaker 3 (01:38):
The Daily Mail claimed that Sting has earned Now this
is in pounds. I don't know what's the pound to
got it?
Speaker 1 (01:44):
Okay? Do you know what the number is? Okay? What
is five hundred and fifty thousand pounds?
Speaker 2 (01:49):
About seven hundred and forty thousand dollars?
Speaker 3 (01:51):
Okay, so a pound is worth more than a dollar then, okay,
So they claimed Sting earns five hundred and fifty thousand
pounds annually, which is how much.
Speaker 4 (02:00):
Seven hundred and forty It's between seven hundred and thirty
and seven hundred and fifty thousand dollars.
Speaker 3 (02:04):
Okay, Its just nothing. He does nothing. He just gets
money that shows up because he wrote or claimed he wrote, right,
every Breath.
Speaker 2 (02:12):
You take and it's still being played right, and so.
Speaker 1 (02:14):
The other two bup gets zip right.
Speaker 3 (02:18):
And so the Copeland and Summers they say, wait a second,
we had a role in writing this song. We have
been owed millions of dollars based on that. This is
how much this guy makes every year.
Speaker 1 (02:28):
Yep, And now they're suing him in some sort of
English court.
Speaker 4 (02:31):
Right. They're saying that they've never received any royalties on
proper songwriting recognition. So every year radio stations across the
country they have to fill out these BMI ass cap.
Speaker 2 (02:40):
For oh boy and boy. It's a lot easier than
it used to be.
Speaker 4 (02:44):
I mean you used to actually have to physically handwrite
it out, but now the computer systems will just print
out a report for you.
Speaker 3 (02:51):
So, like Insider Baseball here, just want to make sure
people understand what you're saying. There are three major BMI
as CAAP, SEASACK, or at least there were music publishing
companies that get you that radio stations or bars or
anybody who plays music, and commercial any sort of commercial
(03:11):
entity that plays licensed music. If you're a major artist,
you're under one of those three and you have to
pay them, and the fees vary based on which company
it is, but you pay them a fee every year
in order to play their music, and then you fill
out a form saying what music you played, and then
(03:33):
the money is divvied up based on how often a
song gets played.
Speaker 4 (03:36):
Right, So at a radio station, they'll print out this
report and they could potentially say we played every breath
you take ten times over the past year, and then
that report is sent to Deloutnetuche, which is an accounting firm,
and then they send it out to the artists and say, Okay,
you're going to get a check for this amount of
money based on this one radio station playing every breath
(04:00):
you take ten times. Now, if you put that across
this country alone, you're talking about fifty thousand radios.
Speaker 3 (04:08):
And what some people may not realize is song writing
is where the money's at.
Speaker 1 (04:12):
Actually writing.
Speaker 4 (04:13):
Why these guys are suing Andy Summers and Stuart Copeland
are suing Sting because they want co writing credits because
in the reports.
Speaker 2 (04:25):
You always have to say who is the writer of
the song?
Speaker 1 (04:28):
Right? Okay, so.
Speaker 3 (04:31):
You're a Sting megafan, I have a hot take for
you. You tell me if I'm way out in left field
in this because I'm not a Sting mega.
Speaker 2 (04:38):
Fan, We're going to be synchronous in this.
Speaker 3 (04:43):
I think Fields of Gold is one hundred times the
song Every Breath You Take is.
Speaker 2 (04:46):
Really can we do a comparative?
Speaker 1 (04:50):
Well, what is your opinion?
Speaker 3 (04:51):
Because of the fact you said, really, I don't know
my house that usually doesn't go well, Really.
Speaker 2 (04:56):
I don't agree.
Speaker 1 (04:57):
That's fine. What didn't you say that I was.
Speaker 4 (05:00):
Alive when Every Breath You Take was like the song
of the year, And I will see.
Speaker 3 (05:04):
That you're blinded by personal bias. You're not You're not
thinking rationally.
Speaker 2 (05:09):
I don't think Fields of what is it? Fields of Gold?
Speaker 3 (05:11):
Fields of Gold feels incredibly, It's incredible sentimental song.
Speaker 1 (05:14):
It's at everybody that takes about a stalker. It's someone
being stalked. Fields of Gold as sentimental.
Speaker 4 (05:22):
Sting describes the song as having an ambiguous tone, capable
of being interpreted either romantic or sines.
Speaker 1 (05:28):
keV can we.
Speaker 3 (05:29):
Play these songs back to back? Why don't we play
Every Breath You Take first?
Speaker 1 (05:32):
Can I do that?
Speaker 3 (05:33):
Kevi's gonna pull that up because I want you people
to hear this song is about somebody being stalked, and
you're chasing.
Speaker 4 (05:38):
He wrote the song while he was staying in a
house in Jamaica that once belonged to the.
Speaker 1 (05:45):
Whole Sting Son. Is very weird to me, Kevin, do
we have this? Okay?
Speaker 5 (05:50):
Very good?
Speaker 1 (06:07):
Guess is creepy stalk stalking?
Speaker 3 (06:12):
See yeah, you take it that way, straining order material
right here?
Speaker 5 (06:22):
Yeah, it's creepy.
Speaker 2 (06:23):
Okay, so we got we're taking the senator sinister side.
Speaker 1 (06:25):
What do you think it is? You can also look
at it.
Speaker 4 (06:27):
As you know, I'll protect you, I'll be watching you.
Speaker 3 (06:31):
You want it to be good or bad? That's your problem.
You You are blinders because you're attracted to him and
you have all these memories and you just you it's
what you want it to be. I mean, he's saying
it right there, is like I'll be watching you, no
I or.
Speaker 2 (06:44):
He sang through the good and the bad, I'll be
there for you.
Speaker 3 (06:47):
Now, compare that incredibly creepy song with this musical master
per Okay, you're.
Speaker 6 (06:56):
Wise, you fucket this song and is jealous Scott ask
that's beautiful.
Speaker 2 (07:10):
Yeah, that is pretty very You can imagine the picture
in your.
Speaker 5 (07:15):
Mind exactly with that one.
Speaker 1 (07:17):
Yeah, lyrics matter?
Speaker 2 (07:18):
Are those bagpipes. Yes, that makes it even better. So Sting.
Speaker 4 (07:25):
They released five albums and think about that, nineteen seventy
seven to nineteen eighty four not.
Speaker 2 (07:30):
A long amount of time.
Speaker 4 (07:31):
Oh it's seven years, right, five albums and a lot,
a lot of major hits. Roxanne Message in a bottle.
Every little thing she does is magic.
Speaker 3 (07:39):
Yeah, and you know Sting kind of did the thing.
And you see this a lot where these guys, he
kind of became bigger than the group itself, or at
least in his mind he was bigger than the group itself.
Speaker 2 (07:50):
He had LSD lead singer's disease.
Speaker 1 (07:55):
Yes, that that I you know.
Speaker 3 (07:57):
I mean, he had a reasonably successful solo career. I
don't think he achieved the heights he did with him,
but this will be fascinating to see a play out.
And I just wanted to touch on that because I
know you are a massive Sting fan and your boys
alleged to be screwing his buddies, and so I wanted
you to.
Speaker 1 (08:12):
Yeah, I hope they win.
Speaker 2 (08:14):
I hope they win because they deserve the songwriting credit.
It was a band.
Speaker 4 (08:17):
If Sting had written that song as just Sting without
the Andy and Stuart.
Speaker 2 (08:25):
Then you got a first name rais on a solo career.
Speaker 4 (08:27):
You know, if that was the song he released during
his solo career, yeah, that should be his, But he
did it as a band, so the band should get credit.
Speaker 1 (08:35):
One guy is way older than the other two.
Speaker 2 (08:37):
Which one the Sandy Summers.
Speaker 1 (08:39):
Yeah, I didn't realize he was that.
Speaker 3 (08:41):
Sting and Stuart Copeland are both seventy three years old,
and Andy Summers is like nine years older than those two.
Speaker 1 (08:47):
I mean, he's get him his money quick. He's not
far on time.
Your boyfriend's in the news.
Speaker 2 (00:06):
My boyfriend you Sting?
Speaker 1 (00:08):
You love Sting? I did.
Speaker 2 (00:09):
I love them a lot when I was younger.
Speaker 1 (00:11):
Now we should be we should clarify the Police.
Speaker 3 (00:14):
Well, when we talk Sting, there's also a very famous
professional wrestler name Sting. So we're talking about Sting the
recording artist.
Speaker 2 (00:22):
Yeah, we're talking about Gordon Sumner.
Speaker 1 (00:23):
Yes, you know what.
Speaker 2 (00:25):
Sting was good, but he wasn't even my favorite in
the band. It was Stuart Copelan who was my favorite.
Speaker 1 (00:30):
The Police were a three piece band.
Speaker 2 (00:32):
Yep.
Speaker 3 (00:33):
By the way, isn't it weird that there was a
Gordon Sumner and yet Alf was named Gordon Shumway, Like,
I mean, that's very.
Speaker 1 (00:40):
Close to each other.
Speaker 3 (00:41):
So close Alf the television show character from the nineteen eighties. Okay,
So the Police were a famous three piece band. They
were English band seventy seven to eighty four. I think
they were active together. Sting was the mega star that
came out out of the Police. But they had what
they on like seventy five million albums. I mean, they
(01:02):
were obviously a massive, you know, massive success in the
late seventies and early eighties and probably the pinnacle.
Speaker 1 (01:10):
The Police was Every Breath You Take?
Speaker 2 (01:12):
Yeah, best selling song of nineteen eighty three?
Speaker 1 (01:15):
Is that their Stairway to Heaven? Is Every Breath You Take?
Is that they're big?
Speaker 3 (01:18):
Now any any well versed music fan, Well we'll get
to that in a second. Sting is now being sued
by the other two.
Speaker 4 (01:28):
Yeah, Andy Summers and Stuart Copeland. They're suing him over
unpaid royalties and also lack of co writing credits on
the song Every Breath You Take.
Speaker 1 (01:37):
Now.
Speaker 3 (01:38):
The Daily Mail claimed that Sting has earned Now this
is in pounds. I don't know what's the pound to
got it?
Speaker 1 (01:44):
Okay? Do you know what the number is? Okay? What
is five hundred and fifty thousand pounds?
Speaker 2 (01:49):
About seven hundred and forty thousand dollars?
Speaker 3 (01:51):
Okay, so a pound is worth more than a dollar then, okay,
So they claimed Sting earns five hundred and fifty thousand
pounds annually, which is how much.
Speaker 4 (02:00):
Seven hundred and forty It's between seven hundred and thirty
and seven hundred and fifty thousand dollars.
Speaker 3 (02:04):
Okay, Its just nothing. He does nothing. He just gets
money that shows up because he wrote or claimed he wrote, right,
every Breath.
Speaker 2 (02:12):
You take and it's still being played right, and so.
Speaker 1 (02:14):
The other two bup gets zip right.
Speaker 3 (02:18):
And so the Copeland and Summers they say, wait a second,
we had a role in writing this song. We have
been owed millions of dollars based on that. This is
how much this guy makes every year.
Speaker 1 (02:28):
Yep, And now they're suing him in some sort of
English court.
Speaker 4 (02:31):
Right. They're saying that they've never received any royalties on
proper songwriting recognition. So every year radio stations across the
country they have to fill out these BMI ass cap.
Speaker 2 (02:40):
For oh boy and boy. It's a lot easier than
it used to be.
Speaker 4 (02:44):
I mean you used to actually have to physically handwrite
it out, but now the computer systems will just print
out a report for you.
Speaker 3 (02:51):
So, like Insider Baseball here, just want to make sure
people understand what you're saying. There are three major BMI
as CAAP, SEASACK, or at least there were music publishing
companies that get you that radio stations or bars or
anybody who plays music, and commercial any sort of commercial
(03:11):
entity that plays licensed music. If you're a major artist,
you're under one of those three and you have to
pay them, and the fees vary based on which company
it is, but you pay them a fee every year
in order to play their music, and then you fill
out a form saying what music you played, and then
(03:33):
the money is divvied up based on how often a
song gets played.
Speaker 4 (03:36):
Right, So at a radio station, they'll print out this
report and they could potentially say we played every breath
you take ten times over the past year, and then
that report is sent to Deloutnetuche, which is an accounting firm,
and then they send it out to the artists and say, Okay,
you're going to get a check for this amount of
money based on this one radio station playing every breath
(04:00):
you take ten times. Now, if you put that across
this country alone, you're talking about fifty thousand radios.
Speaker 3 (04:08):
And what some people may not realize is song writing
is where the money's at.
Speaker 1 (04:12):
Actually writing.
Speaker 4 (04:13):
Why these guys are suing Andy Summers and Stuart Copeland
are suing Sting because they want co writing credits because
in the reports.
Speaker 2 (04:25):
You always have to say who is the writer of
the song?
Speaker 1 (04:28):
Right? Okay, so.
Speaker 3 (04:31):
You're a Sting megafan, I have a hot take for
you. You tell me if I'm way out in left field
in this because I'm not a Sting mega.
Speaker 2 (04:38):
Fan, We're going to be synchronous in this.
Speaker 3 (04:43):
I think Fields of Gold is one hundred times the
song Every Breath You Take is.
Speaker 2 (04:46):
Really can we do a comparative?
Speaker 1 (04:50):
Well, what is your opinion?
Speaker 3 (04:51):
Because of the fact you said, really, I don't know
my house that usually doesn't go well, Really.
Speaker 2 (04:56):
I don't agree.
Speaker 1 (04:57):
That's fine. What didn't you say that I was.
Speaker 4 (05:00):
Alive when Every Breath You Take was like the song
of the year, And I will see.
Speaker 3 (05:04):
That you're blinded by personal bias. You're not You're not
thinking rationally.
Speaker 2 (05:09):
I don't think Fields of what is it? Fields of Gold?
Speaker 3 (05:11):
Fields of Gold feels incredibly, It's incredible sentimental song.
Speaker 1 (05:14):
It's at everybody that takes about a stalker. It's someone
being stalked. Fields of Gold as sentimental.
Speaker 4 (05:22):
Sting describes the song as having an ambiguous tone, capable
of being interpreted either romantic or sines.
Speaker 1 (05:28):
keV can we.
Speaker 3 (05:29):
Play these songs back to back? Why don't we play
Every Breath You Take first?
Speaker 1 (05:32):
Can I do that?
Speaker 3 (05:33):
Kevi's gonna pull that up because I want you people
to hear this song is about somebody being stalked, and
you're chasing.
Speaker 4 (05:38):
He wrote the song while he was staying in a
house in Jamaica that once belonged to the.
Speaker 1 (05:45):
Whole Sting Son. Is very weird to me, Kevin, do
we have this? Okay?
Speaker 5 (05:50):
Very good?
Speaker 1 (06:07):
Guess is creepy stalk stalking?
Speaker 3 (06:12):
See yeah, you take it that way, straining order material
right here?
Speaker 5 (06:22):
Yeah, it's creepy.
Speaker 2 (06:23):
Okay, so we got we're taking the senator sinister side.
Speaker 1 (06:25):
What do you think it is? You can also look
at it.
Speaker 4 (06:27):
As you know, I'll protect you, I'll be watching you.
Speaker 3 (06:31):
You want it to be good or bad? That's your problem.
You You are blinders because you're attracted to him and
you have all these memories and you just you it's
what you want it to be. I mean, he's saying
it right there, is like I'll be watching you, no
I or.
Speaker 2 (06:44):
He sang through the good and the bad, I'll be
there for you.
Speaker 3 (06:47):
Now, compare that incredibly creepy song with this musical master
per Okay, you're.
Speaker 6 (06:56):
Wise, you fucket this song and is jealous Scott ask
that's beautiful.
Speaker 2 (07:10):
Yeah, that is pretty very You can imagine the picture
in your.
Speaker 5 (07:15):
Mind exactly with that one.
Speaker 1 (07:17):
Yeah, lyrics matter?
Speaker 2 (07:18):
Are those bagpipes. Yes, that makes it even better. So Sting.
Speaker 4 (07:25):
They released five albums and think about that, nineteen seventy
seven to nineteen eighty four not.
Speaker 2 (07:30):
A long amount of time.
Speaker 4 (07:31):
Oh it's seven years, right, five albums and a lot,
a lot of major hits. Roxanne Message in a bottle.
Every little thing she does is magic.
Speaker 3 (07:39):
Yeah, and you know Sting kind of did the thing.
And you see this a lot where these guys, he
kind of became bigger than the group itself, or at
least in his mind he was bigger than the group itself.
Speaker 2 (07:50):
He had LSD lead singer's disease.
Speaker 1 (07:55):
Yes, that that I you know.
Speaker 3 (07:57):
I mean, he had a reasonably successful solo career. I
don't think he achieved the heights he did with him,
but this will be fascinating to see a play out.
And I just wanted to touch on that because I
know you are a massive Sting fan and your boys
alleged to be screwing his buddies, and so I wanted
you to.
Speaker 1 (08:12):
Yeah, I hope they win.
Speaker 2 (08:14):
I hope they win because they deserve the songwriting credit.
It was a band.
Speaker 4 (08:17):
If Sting had written that song as just Sting without
the Andy and Stuart.
Speaker 2 (08:25):
Then you got a first name rais on a solo career.
Speaker 4 (08:27):
You know, if that was the song he released during
his solo career, yeah, that should be his, But he
did it as a band, so the band should get credit.
Speaker 1 (08:35):
One guy is way older than the other two.
Speaker 2 (08:37):
Which one the Sandy Summers.
Speaker 1 (08:39):
Yeah, I didn't realize he was that.
Speaker 3 (08:41):
Sting and Stuart Copeland are both seventy three years old,
and Andy Summers is like nine years older than those two.
Speaker 1 (08:47):
I mean, he's get him his money quick. He's not
far on time.
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