YouSaid · the spoken record

Stewart Copeland

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69
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2017-09-03
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2017-09-03
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1
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Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

  1. “I totally endorse that. You get yourself into a state of calmness and ferocity will take care of itself. I had a similar thing the other day. I wasn't playing in Seattle with the Seattle Symphony there doing Ben Hurtz, a 90-minute program with Big Orchestra, really complex show. My hotel room's just around a corner. So I go back after a rehearsal and I set my alarm for six o'clock and I go down to a sneeze. I set it for 6 a.m., not PM. Oh, so I wake up like that and I got a bit of a sandwich and I'm chewing on the sandwich and I look at So I run, you know, like, oh God, oh God, oh God, oh God, I'm on the 28th floor elevator out of service down the step now and up the hill get there like that. Okay, showtime. Best show ever Ladies and gentlemen, Snow Koblet.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  2. “Like that. You know, calmly. And the more relaxed you can be, the more energy, the more ferocity you can achieve by being relaxed. Definitely. Mass murder is best delivered cold. Revenge best served.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  3. “Relax. Take that as your living room. Well, that particular thing, there's a bunch of specific to that challenge, which is that there are audiences on your side. You walk out on stage as a total success, and it's yours to throw away, and it's really hard to throw away. So relax. Assume that you're blowing everybody away And everything else will take care of itself. You know, when I was young, I used to think that I got to get myself out to go on stage and I got to go out there. But in fact, that's a dissipation of the energy. You know, there was that film whiplash where the kid is trying to get better and he goes back to woodshed and they show him in the woodshed. That's the one thing they got wrong. To get better, you don't grow like that.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  4. “Don't worry, be happy. And by the way, by the way, that's just the first thing that came to my mind. And thank you for that nice, polite applause. What the fuck does that mean? What use is that? Don't worry, be happy as if. Is there a pill for that? Some good advice, but it is good advice, kind of facile”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  5. “Kind of a rap thing in it. And Bob Dylan was supposed to be there, but he bailed. So that's the band. Gene Simmons, Stephen Stills, and me. Okay, that's pretty disparate. What we figure out a show, we play for all the dad stuff. Okay, turns out that Jean Simmons is a student of Old Testament theology. So there at this event where we're playing all this stuff like, there's the bass player of Kiss and the drummer of police backstage arguing about which prophet knows Zebediah was not the son of you.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  6. “But I'm going to bring you back. Okay? Over in the west side of Los Angeles, there's all these private schools where all us fancy folks send our kids. And there's only a few of them, so all us fancy folks send our kids. And they have these school gala fundraising events where they raise money as if they need to raise money. And they have this gala event and they have all the bands, you know. And, you know, we got all, you know, the dads is going to be some rock stars in there. And so they have, you know, I call what I call the grateful dad, which is the school band of whatever dads are in that school. And, you know, one of the schools here, Wildwood, the school, the grateful dad was Stephen Stills, Gene Simmons, me, Barclay. Travis Bark Glee? Miles in a wheelchair.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  7. “The strata of Jericho, for instance, tells us that there was no burning down of Jericho when the Bible says that they came and burned down Jericho. Didn't happen, folks. Jericho has been burned, not when the Bible says it did. A couple 3,000 years earlier. Well, okay, well, let's pull that Bible chronology down and pull this one up so that that matches now. Well, then we've got a problem with the Egyptian chronology. So we stretch that then and say, you know, in the period of Solomon, there are no great architectural masterpieces or anything to denote a great kingdom during the time of Solomon. It doesn't mean he didn't exist. It means that the chronology of when the Bible said he exists might be a little inaccurate. So that's what I can find endlessly fascinating. The idiot judge of rock and roll.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  8. “That a thousand years ago, Moses did this so many thousand year ago, Solomon did that, and there's a chronology. Then there's the Egyptian chronology, which has its list of kings, and it's not measured in 1927. It's like this king in the third year of King Seneca II, and it's like you have to know how many. And there's that chronology. Then there's the archaeology.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  9. “Know the Egyptians were great people with great values and beautiful culture, but the people who wrote the Old Testament didn't think so. So the Egyptians describe their enemies in these pejorative terms and in turn are described by the Israelites in these pejorative terms. It's fascinating because in the Egyptian history there was no plagues. There was no Moses. There was no Exodus. And so obviously the Exodus and the events referred to in the Old Testament, there's something happened historically to create what became these stories. There's got to be an origin to these stories. Which pharaoh was that? Which part of Egyptian history was that traditionally it's Ramsay II, you know, the big one, just because he's the biggest, but it wasn't. And you figure out there are these different chronologies. There's the archaeology. Or let's start with the Old Testament, which says,”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  10. “And they're still arguing about it now to this day. Whose is it? And which religion prevails? And it turns out that the three religions fighting most vociferously over that piece of real estate are the same religion. They come from the same book. And the Old Testament is that book. And the Old Testament is unique because I also love Egyptian history. You know, I think Moses was a jackass, that the Egyptian history was a beautiful, beautiful thing, as described in the Old Testament.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  11. “I would say that quiet thing because I have drummers who have that range, dynamic range of seven to twelve. And that's just really hard work. You know, my buddy Fishman in Fish, he's really quiet. He's been doing that all. And I saw that guy. And, you know, you see them from the front, and it's blazing because there's a 50 zillion watt PA system to make it louder. He doesn't need to make it louder. And so the scientists that watch him, and he's just comfy, he's hardly breaking a sweat. Gonna do that. And playing quietly, that's the most unappreciated technique that I would say to answer that question.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  12. “Yeah, there's the stretches. I have a thing that I got in China, which is like a little... Pointy, soft wooden thing that I just sort of massaged the muscles. And like I say, there's quite a fetish. I'm pretty familiar with the structure of the hand. There's ten bones there and like all this really complicated. But I'm pretty into making it work and playing it that volume, it just isn't the stress that it is at high volume.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  13. “Well, I find that if I, you know, I don't look at my drums until I've got a show coming up. And this year I've had shows coming up all year, so I've been in shape. So I have to start up. It's like Rocky. I start slow and I work it up and I have little things like that to get, you know, and I find that when I get fit to play and I'm up to speed, the arthritis goes away. And it doesn't return until I walk away from the drums and I don't even look at them. Until next time I have to. And then the arthritis creeps back in, opening a door. Ah, man, that hurts. And I think darn, this is really inconvenient for what I do. But in fact, when I start playing drums, when I get fit, you know, it's not a problem.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  14. “Of technique that I learned as a kid, but never could use in rock and roll. They just have, you never hear them, you know, a rough or a drag. You can't hear them in rock and roll, but now you can. So they sound great, cool technique, less work. And so learning how to play that quietly, I can now play a full-on drum set, my drum set, designed for the aforementioned cacophony. And there's a violin solo that I wrote a nice little violin solo, and she's 30 feet away, and I'm up there, and I can now play so quietly that I can hear her. And so can the audience, you know. That's an achievement.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  15. “And drummers, and by the way, we don't do it by turning a little knob. We do it by hitting it. And in the orchestra, the orchestra feels very loud, but it's in fact a quarter of the volume of a rock band. When you go to a concert and you see an orchestra play, it feels emotionally really big. But physics-wise, it's actually much more quiet. And so you have the huge orchestra and you put the drum in there, crack and the orchestra's gone. They're toast. You can't hear them. Nothing because the drums are so loud. So the biggest challenge has been to play quietly. And I now, after years of playing with orchestras and working on it, and I practice with the music barely audible. So I can't accompany it unless I get it down there. And a couple things. First of all, less work. Second of all, the drum sound so much better. Third of all, all kinds of finesse.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  16. “Arthritis. And right now I play with an orchestra, and my drums are designed to play to a company amplified instruments, which can be any amount of volume. So the dynamic range of the rock and roll drummer goes from 7 to 12. Guitarists only go to 11.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  17. “Just the effervescence, the lively spark of either, it'd be tough between, I mean, Buddy Rich is the number, he is the absolute top god, whether you like his music or not, there's nobody who's been able to achieve just the manual dexterity, let alone the artistry and everything else. I mean, he really isn't a class of his own. Mitch Mitchell is up there as well, but his music was more fun and more effervescent and so on. So I'd probably take John Bonham Clive Stubblefield and Mitch Mitchell.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  18. “I would take the majesty of John Bonham. He achieved with very few drumstrokes, very sighs. It just sounds like a mountain. And everybody, nobody has gotten there, figured out how to make a drum set sound so huge. And it's the economy. And it's the way he hits the drum, just some magic about the way he created size. Just hugeness. Then I would take... God, I'm terrible with names. James Brown's drummer, Stubblefield, anyone here? Because we got to dance, you know, and he's not a star guy, but just give me some of that. And so we'll all be dancing and those pudenda will be, you know, doing what they do. And then I would take Mitch Mitchell for a technique or buddy Rich.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  19. “Anyhow, Henry, that's one. I'm not a huge Beatles fan, but I would probably take either the White Albur Sergeant Pepper just because the variety, if we're going to be stuck on that island for a long time, we need some variety. Probably some blues just because it makes me feel good. But then again, I could play blues myself. No, I wouldn't take a blues record. I don't know, some classicals, some Stravinsky probably, Rites of Spring.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  20. “Well, any Hendrix album, but probably the double one because it's a double one. Which would be the third one Axis No, not access. What was the third one? Voodoo Child revisited double album all the naked girls on bicycles.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  21. “With this technique. And then nowadays a drummer can set up the drums on any how he darn well wants, and he has it logically flat, and the TomToms logically like that, in what's this for? So he plays like this nowadays. Nowadays, drummers all play matched grip. It makes perfect sense. Now, in my opinion, this is a bigger digit than this. There's bigger muscles here. So when I want to get that backbeat, look out, baby. This hammer's coming down with this thumb to bring it down. And it just seems like a more stronger thing. I don't know. It's not matched. And so you learn to make it so that the effect is the same, but different mechanics in each hand. Glad you asked?”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  22. “Well, in olden times, the snare drum was a military instrument for marching. And to march, and the snare drums were that deep, cylinder like this and that deep. And to march with it like this is kind of hard. So what they do is they turn on its side so that the drum is like that and you can still march, which means to hit the drum like this is kind of a problem. So how about this hand hold the stick like that and you”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  23. “There and he gets up high like that, and the trumpet takes it over and then goes baboom on the low brass. Oh, you know, that's just really a lot of fun to conceive of that stuff. And then you go and you sit with the orchestra and they play it. And without debate. And the first time it sounds a little creaky, the second time it's like, wow. And then by showtime, it's really good fun to play that stuff.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  24. “It beautifully, then they all 60 of them become the mighty Chicago symphony. And that's where their ego lies. Not from I'm going to express myself on this part here, god damn it, even though I'm the third chair, second violin. No, their ego, their pride in their work comes from this corporate identity of the magnificent orchestra of which they are part. And by the way, they're playing Mendelssohn and Brahms and really, really good music and the best of the best of the best that has withstood the test of time. So there's two completely different musical universes. And I love jamming with guys who come over to my studio and we jam and we just make it up as we go along. But I also love to do that homework and get it on the page and conceive of every aspect of it where the swell is, where the surge, the ebb and the flow and that violin line. Let go up there.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  25. “A visual cue, the conductor is baton. Their eyes connect them to the music. And the musicians of the ear, they just make that shit up. It's collaborative. It's improvisational. They know that it's E, A, and D, but how are you going to hit that E? How are you going to, which inversion of A? And so it's a collaboration. You work it out together. It takes forever. But in orchestral music, you put it on the page and they will play it. And like I said before, it's not just da da da da da da da da da. It's da da da. You know, that you put that shit. You have to put all that shape on the page. And if you do, 60 guys, and that guy over there on the double bass, and that guy way over there on second violin, they're 30, 40 feet away from each other, but each of them has their own book with only their own part. And if they follow exactly what's on the page and execute...”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  26. “You meet all I got to do is figure it out and do the homework, put it on the stand, and they play. So 20 years later, I've done maybe 40, 50 films, TV, commercials, and all this stuff. And you use orchestra a lot, and pretty soon I learned how to write, you know, and fancy stuff. And the best part of it is that it's about the homework. With a band, you think on your feet, and it's an interaction. Musicians of the ear, musicians are divided at birth into two categories, musicians of the ear and musicians of the eye. Musicians of the ear, where I come from, they're connected to music by the ear. They're staring off in space, and they just know when eight bars are up, and they know where to listen for the groove, and they're part of that groove, and they're connected with their ear. Musicians of the eye read a chart, and their fingers follow what their eyes tell them to play. And even the rhythm comes from the...”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  27. “Let's just write it. Okay, cool. Okay, rotate. And they play. And they were done in like half an hour. They just played what was on the page. You know, I didn't need to talk to them at all. They just play was on the page and they played it. And after the guitarist guy, he's there all afternoon. You're trying stuff. These guys, it's on the page. They play it exactly and they're done.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  28. “And ear ballet and put that on a chart so that that's the top note. Okay, we'll give that the violin and violin two and viola and I had a ranger put it on the page and I had studied, you know, I was a music major in college so I could read it but I hadn't seen a sheet of music in 20 years in rock and roll there are no sheets of music it's just not part of the vocabulary but here with these string players a section And so they have these footballs And they say, well, look, it's all footballs. Can we just run it down everybody? One, two, three. The pieces.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  29. “A lot of them, and so I go out to do my thing. Hey guys, it's great to have you here in this movie, it's kind of an art movie. And, you know, the first song is kind of thing. And then when you see the guy with a bandana, it just kind of goes a little like that. And I'm talking and I'm talking like that. And they're looking kind of more and more uncomfortable. And eventually, one of them says, Maestro. Do you want us to play what the music on the page here or whatever the fuck you're talking about? Play the page. Play the page. And so they do. The page, by the way, in this case was footballs, what they call notes. I didn't know how to write. I don't know how to write that music at that time. So it was just the chords that I was playing myself. Here, stop the tape. Okay, roll tape. Bling.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  30. “Send me some strings, you know, and so these, I think it was maybe 14, 15 guys showed up, you know, strings. And they arrive. And usually recording session, the guitarist shows up and you book them for the afternoon. Then he comes in with his 10 guitars and a couple amps and a bunch of pedals. And he says, okay, so the first thing is just kind of a. And then when it comes to that shot, okay, there's a shot of his name, Matt Dillon, he's called, you know, that kid with a bandana. Okay, on the shot, just kind of hit a kind of thing there and then kind of pull back a little bit there. And then you're talking to him like that. And that's the way you work it. And the guy's, oh, cool. How about this? Maybe how about that? Try that stratacast, you know, you talk and it's an interaction in between the two of you. You collaborate, you get a turn. So the strings arrive.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  31. “Crazy, but it kind of works, you know, and but it did turn around and say, I want strings. You know, I need some strings. And I'm going, oh shit, he's going to hire some string schlocky guy. Francis, you're so right. You need strings. I'm going to fix up some nice strings, you know, nice strings. And so I call up the contractor and says, send me some strings. He says, well, okay, sure, fine. How many strings? I don't know how many strings.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  32. “I'll give you a clue, which was his people, his producers, kept saying, when's the scoring date? I've been in the studio for a month. What do you mean date? You know, the way they used to do films was they would have a date. And on the date, they show up with the orchestra and they record the music on that day. And that's the recording session. I don't do it like that. I'm in the studio by myself and I play a little bit of drums, then I add some guitar, and then I fiddle around over here. And I'm building it like you make a record. And I was in the studio. That was just completely an alien exercise. I mean, the people who come down and they say, this is kind of interesting.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  33. “This is the thing about Francis Coppola, he can spot talent. And his very different from somebody like Oliver Stone, for whom I've scored as well, who Stone himself owns every frame, every aspect of the film comes from his creativity, and that's what he does. He doesn't want people with clever ideas. He wants people who are clever at carrying out his ideas. Unfortunately, he's got really great ideas. So Francis has a different technique. He finds people that have the talent and he just gives them a long lead and says, you just go for it. You take it. Take it. I want to see what you come up with. And that was a good relationship.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  34. “So hard for us to make the pieces fit back together because guess what? 20 years have gone by and we'd grown. And I had lost, I'd gotten out of the habit of the bass player turning around telling me anything. And he'd gotten out of the habit of this World War III going behind his left shoulder. And he comes over to, well, maybe not. Okay, maybe not. And, you know, with the best of intentions, you know, I'm sure Sting looks at the mirror every morning, says, okay, today I'm going to let Stuart be Stewart. And I would look at the mirror in the morning. Anything he wants, I will be there for him, any scintilla of newt, I will listen and I will do my best to remember what he told me. And that gets us through the first hour of rehearsal”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  35. “But when it comes to music, I kind of like working with an orchestra. And by the way, I write music for a 60-piece orchestra. They don't talk back. I put every note and how they play it on the thing. That piccolo player has been playing Piccolo his whole career, but he's going to play exactly what I put on the page. And it's not da da da da da da da da da. It's da-da-da-da with a little diminuendo at the end with articulate staccato, the third note, and then the slur over. I put on the page in ink in Italian exactly in 60 guys, and that's how it works. And guess what? Sting likes to do that too. And he's real good at it, and he has kind of a track record of being successful at it. But what he wants to do is kind of different from what I want to do. The purpose of music for him has a different purpose for me. And we came together for the reunion tour. And it was.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  36. “Had a bunch of hits on that record too. So the third album, we're going into the studio, and now we are not just us anymore. This was the beginning of the police becoming something that isn't just our little thing anymore. It's bigger than us. And there's a momentum there. There's a record company that's counting on hits. And we were there in Holland, in fact, recording the third albums in Yatamondata. And the record company are actually in the studio. Is that a hit? No, I think the other one's hit. And it was like commerce was in the room with us. And it really bummed us out, kind of like that. But we were still had a buzz going, and it was us against the world. The next two albums, which we recorded in Montserrat in the Caribbean, far, far away, 12 hours from the nearest record company executive. And there was just the three of us. And by now, we were not so code.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  37. “And so there were back in the studio, and we got half an album worth of material, but we got to get a new album. And so that second album, we just came up with it. We were full of ourselves. We were validated by, you know, we know that we're the coolest. So we had confidence in our second album just was all creativity.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  38. “You know, Stingo and I, music fulfills a different purpose in our lives. For me, it's celebration. It's a party. And For Sting, perhaps it's more of an escape, a peaceful, beautiful place that he can go to. And those two things, when we were codependent, the differences between us really filled gaps. And so it was very synergistic. But as we, you know, the first two albums were recorded with that first album, it was just us in the studio and we got in there and we recorded an album in 20 minutes. And then the second album was after we'd started to get somewhere in America and we'd been playing and we're getting great reviews and burning down the house night after night and we're feeling really great. And they say you have your whole life to write your first album and six months to write your second album.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  39. “So they got Andy and I out there as well, but they didn't think we looked snarly enough. I know let's peroxide their hair. And so the wardrobe people, just like the ladies you got back there, they made us look the part. And we looked at each other and said, that's kind of cool. And so we got our blonde look from a Wrigley's chewing gum commercial. Somewhere, the ad didn't run. I guess it didn't test well or something. And somewhere in a vault somewhere is that ad of the three blonde heads blonde for the first time. I actually am blonde. This is real. Okay, gray, but I'm blonde too, but...”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  40. “Well, we would never be caught dead discussing such matters. The bleach blonde hair came from the fact that Sting's wife was an actress. She had an agent. She took one look at her client's husband and said, that guy belongs in front of a camera. And she would send him for modeling jobs in advertising and so on. And he would get every gig. And one day they wanted a punk band for a Wrigley's chewing gum commercial. And so they called, you know, he got the gig and said, well, I have a punk band. I am myself a punk.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  41. “Well, with two things. I didn't know he could write songs, and I didn't know he could sing like that. And it was sort of Andy who made all the whole thing come together.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  42. “She's out of tune and liked it that way. You know, the jazz attitude, and she's a punk man. One day, but long story short, the first show, we were unprepared. All kinds of bedlam and craziness, and we got the first show. We don't even know how we're going to finish the set. At one point, she slinks off. She does her and slinks off like that. And there's the mics down. Then there we are, and we're not quite sure what to do next. Base player walks up to the microphone and the sound of his mouth, a keening, wailing Sound that was soaring high with the stars with a pain and a yearning and a growing feeling of the cosmos coming down to take us away in the heart of this and Andy and I are going fuck me And so the police was born”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  43. “Gig to do. He said, Look, I've got one last gig. This guy in Germany, and I'm going to go over, by the way, he needs a drummer. So you got a gig too. So Andy and I went over to Germany with Everhard Schoerner, this high concept thing where he's got jazz, saxophone, he's got Laesarium, he's got a ballet dancer, and a punk group. And for a punk group, you know, actually, you know, we got a buddy who plays bass. Why don't we bring him over to sure? So they brought. So the three of us are there as the punk group as a part of this multi, you know, mix and match kind of show. And the jazz singer, the obligatory American jazz singer chick. And she had the shoulder down.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  44. “So he insisted, and by this time going up, no, he's an actual musician. He's in the band. I'm going to calm down. And finally, either he's in or I'm out. Okay, so Andy's in the band. And immediately Andy has deep musical training. I didn't have to show him an E chord or a D or an A chord. He knows E flattened seventh carry the, you know, you know, he really, and as soon as him and Sting put their heads together out of nowhere, Sting writes a song. As a result of Andy joining the group, there was another surprise in store for us all, which was that in our punk band, the singing was and Stink could do that. And that's all I ever heard him do because that's what we did and that genre was all shouting. But we had one lasty summer.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  45. “I'm booking the gigs too. Rodi, that's you. And so I'm really flattered, but you're going to leave after two weeks. You got a life. You got expenses, you know. And he insisted. He said, no, no, no, I'm canning all my sessions. I want to be in the band. He had played with sophomine or Verden, the animals. He had a list of credits as long as your arm. He didn't want to be a sideman anymore to be in the band and to the band to be his band. And of course I'm going to get rid of that other guitarist. You know that right. And I say, sure, sure, sure. I didn't think about that. We actually did play a couple of shows with two guitars.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  46. “So I call Stingo and I say, so Andy wants to join the band. He's like, Fanta, he's in, that's it. No brainer. What are we waiting for? And I say, dude, calm down, calm down. We can't afford it. He's a, you know, I had to explain to Andy, there's no record company. I'm the record company, you know, illegal records. You know, I printed them myself. Sting and I put the records into the bags ourselves. And with Letra said, I did the artwork myself and I called up the stores my son. I'm the record company. Management? I'm the manager too. And agent? No.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  47. “Exactly. When the punk bands in London in 1977 desired to play reggae because it was for punk bands, the only form of chill was dub reggae, which is still hostile, still pissed off, but chill. And so there was no such thing as chill punk music. You just can't slow it down. And, you know, and so the punk rockers would chill to dub reggae, which meant that I could fall right into that. Topper Heaton, to his credit, he figured out, let's see, the backbeat doesn't go on two and four. So he's sitting there in his drums and he's figuring out, and he had to learn how to do it, and he could do it. I already could do it. And so we develop that sound in the police, which is kind of important. And we didn't actually play reggae strictly the way it comes out of Jamaica. We did our kind of own thing to it. But it was elemental. It wasn't learning it the way Topper had to do. It just was that secret weapon that I got from my friends in Lebanon.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  48. “Just as it belongs to him, he can watch TV, he can have friends, he can go out to dinner. He just lives a great life. Next morning he gets up, goes to work, works like hell, enjoys his job, and then he Jordan, he would not be able to thrive under those conditions. And what do you mean I have to get up? More of a question. No, no, no. You can't go to bed.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  49. “That you have to do it yourself. Was the main thing. And you have to think of everything. And the entrepreneur, unlike a job holder, doesn't get a day off. And my roommate, people in the building, they had jobs. And they knew when they go to work when they come home and they got their check. But they have to go to work. As an entrepreneur, you don't have to go to work. You're always working. You can never not be at work. And so, you know, of my sins, I have seven children. And my sons, you know, for instance, just take two, for instance. One is an entrepreneur, filmmaker, has a band. He's always picking up the phone. He's hustle, bustle. And the other has a nine to five job. They are both happy as clams. The nine to fiver, he can't imagine what it's like. On six o'clock, he gets into his car. He is free. His life...”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT

  50. “That was a little business venture. And then that drumming thing, it was just when I was into my second or third edition, then I'd calling up, selling the stuff and getting the letters and the college people sent. All I had to do was print their letters about what agent ripped them off and didn't treat them. And that agent, the guy who deals with universities, they have a lot of money, these colleges. Oh my God. And so suddenly I had power. But it was all going great until that drumming thing, and there was a band over in London needed a drummer, and it was summer, so I went over to London to plan a band and never came back.”

    2017-09-03 · The Tim Ferriss Show · #262: The CIA, The Police, and Other Adventures from Stewart Copeland · IDENTIFIED FROM THE TRANSCRIPT