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Speaker 1: Your boyfriend's in the news.

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Speaker 2: My boyfriend you Sting?

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Speaker 1: You love Sting? I did.

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Speaker 2: I love them a lot when I was younger.

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Speaker 1: Now we should be we should clarify the Police.

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Speaker 3: Well, when we talk Sting, there's also a very famous

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Speaker 3: professional wrestler name Sting. So we're talking about Sting the

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Speaker 3: recording artist.

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Speaker 2: Yeah, we're talking about Gordon Sumner.

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Speaker 1: Yes, you know what.

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Speaker 2: Sting was good, but he wasn't even my favorite in

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Speaker 2: the band. It was Stuart Copelan who was my favorite.

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Speaker 1: The Police were a three piece band.

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Speaker 2: Yep.

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Speaker 3: By the way, isn't it weird that there was a

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Speaker 3: Gordon Sumner and yet Alf was named Gordon Shumway, Like,

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Speaker 3: I mean, that's very.

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Speaker 1: Close to each other.

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Speaker 3: So close Alf the television show character from the nineteen eighties. Okay,

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Speaker 3: So the Police were a famous three piece band. They

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Speaker 3: were English band seventy seven to eighty four. I think

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Speaker 3: they were active together. Sting was the mega star that

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Speaker 3: came out out of the Police. But they had what

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Speaker 3: they on like seventy five million albums. I mean, they

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Speaker 3: were obviously a massive, you know, massive success in the

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Speaker 3: late seventies and early eighties and probably the pinnacle.

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Speaker 1: The Police was Every Breath You Take?

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Speaker 2: Yeah, best selling song of nineteen eighty three?

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Speaker 1: Is that their Stairway to Heaven? Is Every Breath You Take?

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Speaker 1: Is that they're big?

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Speaker 3: Now any any well versed music fan, Well we'll get

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Speaker 3: to that in a second. Sting is now being sued

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Speaker 3: by the other two.

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Speaker 4: Yeah, Andy Summers and Stuart Copeland. They're suing him over

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Speaker 4: unpaid royalties and also lack of co writing credits on

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Speaker 4: the song Every Breath You Take.

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Speaker 1: Now.

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Speaker 3: The Daily Mail claimed that Sting has earned Now this

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Speaker 3: is in pounds. I don't know what's the pound to

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Speaker 3: got it?

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Speaker 1: Okay? Do you know what the number is? Okay? What

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Speaker 1: is five hundred and fifty thousand pounds?

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Speaker 2: About seven hundred and forty thousand dollars?

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Speaker 3: Okay, so a pound is worth more than a dollar then, okay,

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Speaker 3: So they claimed Sting earns five hundred and fifty thousand

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Speaker 3: pounds annually, which is how much.

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Speaker 4: Seven hundred and forty It's between seven hundred and thirty

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Speaker 4: and seven hundred and fifty thousand dollars.

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Speaker 3: Okay, Its just nothing. He does nothing. He just gets

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Speaker 3: money that shows up because he wrote or claimed he wrote, right,

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Speaker 3: every Breath.

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Speaker 2: You take and it's still being played right, and so.

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Speaker 1: The other two bup gets zip right.

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Speaker 3: And so the Copeland and Summers they say, wait a second,

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Speaker 3: we had a role in writing this song. We have

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Speaker 3: been owed millions of dollars based on that. This is

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Speaker 3: how much this guy makes every year.

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Speaker 1: Yep, And now they're suing him in some sort of

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Speaker 1: English court.

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Speaker 4: Right. They're saying that they've never received any royalties on

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Speaker 4: proper songwriting recognition. So every year radio stations across the

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Speaker 4: country they have to fill out these BMI ass cap.

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Speaker 2: For oh boy and boy. It's a lot easier than

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Speaker 2: it used to be.

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Speaker 4: I mean you used to actually have to physically handwrite

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Speaker 4: it out, but now the computer systems will just print

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Speaker 4: out a report for you.

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Speaker 3: So, like Insider Baseball here, just want to make sure

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Speaker 3: people understand what you're saying. There are three major BMI

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Speaker 3: as CAAP, SEASACK, or at least there were music publishing

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Speaker 3: companies that get you that radio stations or bars or

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Speaker 3: anybody who plays music, and commercial any sort of commercial

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Speaker 3: entity that plays licensed music. If you're a major artist,

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Speaker 3: you're under one of those three and you have to

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Speaker 3: pay them, and the fees vary based on which company

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Speaker 3: it is, but you pay them a fee every year

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Speaker 3: in order to play their music, and then you fill

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Speaker 3: out a form saying what music you played, and then

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Speaker 3: the money is divvied up based on how often a

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Speaker 3: song gets played.

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Speaker 4: Right, So at a radio station, they'll print out this

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Speaker 4: report and they could potentially say we played every breath

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Speaker 4: you take ten times over the past year, and then

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Speaker 4: that report is sent to Deloutnetuche, which is an accounting firm,

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Speaker 4: and then they send it out to the artists and say, Okay,

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Speaker 4: you're going to get a check for this amount of

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Speaker 4: money based on this one radio station playing every breath

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Speaker 4: you take ten times. Now, if you put that across

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Speaker 4: this country alone, you're talking about fifty thousand radios.

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Speaker 3: And what some people may not realize is song writing

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Speaker 3: is where the money's at.

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Speaker 1: Actually writing.

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Speaker 4: Why these guys are suing Andy Summers and Stuart Copeland

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Speaker 4: are suing Sting because they want co writing credits because

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Speaker 4: in the reports.

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Speaker 2: You always have to say who is the writer of

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Speaker 2: the song?

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Speaker 1: Right? Okay, so.

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Speaker 3: You're a Sting megafan, I have a hot take for

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Speaker 3: you. You tell me if I'm way out in left field

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Speaker 3: in this because I'm not a Sting mega.

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Speaker 2: Fan, We're going to be synchronous in this.

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Speaker 3: I think Fields of Gold is one hundred times the

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Speaker 3: song Every Breath You Take is.

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Speaker 2: Really can we do a comparative?

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Speaker 1: Well, what is your opinion?

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Speaker 3: Because of the fact you said, really, I don't know

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Speaker 3: my house that usually doesn't go well, Really.

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Speaker 2: I don't agree.

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Speaker 1: That's fine. What didn't you say that I was.

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Speaker 4: Alive when Every Breath You Take was like the song

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Speaker 4: of the year, And I will see.

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Speaker 3: That you're blinded by personal bias. You're not You're not

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Speaker 3: thinking rationally.

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Speaker 2: I don't think Fields of what is it? Fields of Gold?

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Speaker 3: Fields of Gold feels incredibly, It's incredible sentimental song.

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Speaker 1: It's at everybody that takes about a stalker. It's someone

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Speaker 1: being stalked. Fields of Gold as sentimental.

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Speaker 4: Sting describes the song as having an ambiguous tone, capable

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Speaker 4: of being interpreted either romantic or sines.

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Speaker 1: keV can we.

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Speaker 3: Play these songs back to back? Why don't we play

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Speaker 3: Every Breath You Take first?

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Speaker 1: Can I do that?

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Speaker 3: Kevi's gonna pull that up because I want you people

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Speaker 3: to hear this song is about somebody being stalked, and

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Speaker 3: you're chasing.

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Speaker 4: He wrote the song while he was staying in a

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Speaker 4: house in Jamaica that once belonged to the.

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Speaker 1: Whole Sting Son. Is very weird to me, Kevin, do

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Speaker 1: we have this? Okay?

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Speaker 5: Very good?

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Speaker 1: Guess is creepy stalk stalking?

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Speaker 3: See yeah, you take it that way, straining order material

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Speaker 3: right here?

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Speaker 5: Yeah, it's creepy.

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Speaker 2: Okay, so we got we're taking the senator sinister side.

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Speaker 1: What do you think it is? You can also look

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Speaker 1: at it.

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Speaker 4: As you know, I'll protect you, I'll be watching you.

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Speaker 3: You want it to be good or bad? That's your problem.

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Speaker 3: You You are blinders because you're attracted to him and

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Speaker 3: you have all these memories and you just you it's

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Speaker 3: what you want it to be. I mean, he's saying

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Speaker 3: it right there, is like I'll be watching you, no

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Speaker 3: I or.

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Speaker 2: He sang through the good and the bad, I'll be

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Speaker 2: there for you.

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Speaker 3: Now, compare that incredibly creepy song with this musical master

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Speaker 3: per Okay, you're.

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Speaker 6: Wise, you fucket this song and is jealous Scott ask

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Speaker 6: that's beautiful.

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Speaker 2: Yeah, that is pretty very You can imagine the picture

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Speaker 2: in your.

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Speaker 5: Mind exactly with that one.

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Speaker 1: Yeah, lyrics matter?

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Speaker 2: Are those bagpipes. Yes, that makes it even better. So Sting.

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Speaker 4: They released five albums and think about that, nineteen seventy

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Speaker 4: seven to nineteen eighty four not.

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Speaker 2: A long amount of time.

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Speaker 4: Oh it's seven years, right, five albums and a lot,

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Speaker 4: a lot of major hits. Roxanne Message in a bottle.

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Speaker 4: Every little thing she does is magic.

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Speaker 3: Yeah, and you know Sting kind of did the thing.

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Speaker 3: And you see this a lot where these guys, he

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Speaker 3: kind of became bigger than the group itself, or at

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Speaker 3: least in his mind he was bigger than the group itself.

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Speaker 2: He had LSD lead singer's disease.

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Speaker 1: Yes, that that I you know.

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Speaker 3: I mean, he had a reasonably successful solo career. I

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Speaker 3: don't think he achieved the heights he did with him,

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Speaker 3: but this will be fascinating to see a play out.

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Speaker 3: And I just wanted to touch on that because I

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Speaker 3: know you are a massive Sting fan and your boys

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Speaker 3: alleged to be screwing his buddies, and so I wanted

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Speaker 3: you to.

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Speaker 1: Yeah, I hope they win.

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Speaker 2: I hope they win because they deserve the songwriting credit.

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Speaker 2: It was a band.

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Speaker 4: If Sting had written that song as just Sting without

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Speaker 4: the Andy and Stuart.

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Speaker 2: Then you got a first name rais on a solo career.

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Speaker 4: You know, if that was the song he released during

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Speaker 4: his solo career, yeah, that should be his, But he

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Speaker 4: did it as a band, so the band should get credit.

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Speaker 1: One guy is way older than the other two.

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Speaker 2: Which one the Sandy Summers.

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Speaker 1: Yeah, I didn't realize he was that.

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Speaker 3: Sting and Stuart Copeland are both seventy three years old,

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Speaker 3: and Andy Summers is like nine years older than those two.

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Speaker 1: I mean, he's get him his money quick. He's not

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Speaker 1: far on time.