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Copyrighted Material INDEX A&M Records, 49, 61, 65, 75, 83, 84, 90, Berlin, Peter, 102 119, 136, 138, 144–146, 150, 167, Biafra, Jello, 152–153 241, 257 Blondie, 48, 83, 108, 153, 181, 268 Bring On the Night and, 209, 211 Boberg, Jay, 107, 153, 169 Bob Garcia and, 81, 107–108, 113, Body Mist (deodorant), 189, 195, 260 118, 168 “Bombs Away” (the Police), 139 I.R.S. and, 105–112, 152, 169 Boomtown Rats, 89, 181, 217 Jerry Moss and, 81, 94, 105–112, 152 Boorman, John, 135 Marketing the Police and, 80–86 Booz Allen Hamilton, 123 Miles Copeland III’s dealings with, 49, Bowie, David, 27, 151, 259 57–58, 61, 75–76, 81, 84, 105–113 Brand New Day (Sting), 256–258 new wave and, 94, 159 Branson, Richard, 15, 193–195 roster, 108 Bride, The, 228 Ahearn, Michael, 224 Bright, Terry, 157 Air Studios, 170–179, 199, 232 Brimstone and Treacle, 248 Alberto y Lost Trios Paranoias, 89, 114 Bring On the Night, 209–216 Alternative Tentacles, 153 “Bring On the Night” (the Police), 271 Alternative TV, 55, 112 British Talent Managers, 14, 72, 194 Altham, Keith, 99–100, 221 BTM Records, 14, 40, 165 Amnesty International, 221–226, 255, 262 Burbidge, Derek and Kate, 94–95, 119– Animals, the, 8, 9, 47 120, 123, 151, 180, 203 Apted, Michael, 209–212, 214 Burchill, Julie, 147–148 Atwood, Colleen, 212 Burdon, Eric, 8, 9 Ayers, Kevin, 8, 9, 43, 44, 49, 52 Bush, George H. W., 251 Bush, George W., 111 Bailey, David, 254 Buzzcocks, 109–110, 111, 112, 113 Bamberger, David,COPYRIGHTED 244–248 MATERIAL Bangles, the, 169 Cale, John, 109, 112 Bators, Stiv, 164–165, 167, 169 as producer of the Police, 48–50 BBC, 64–65, 118–119, 121, 173, 180, 261 Campbell, Lady Georgina, 21–22 Beatles, the, 4, 7, 56, 63, 204–205 “Can’t Stand Losing You” (the Police), “Bed’s Too Big without You, The” (the 67–68, 96, 100 Police), 12 Caravan, 56, 72–73, 75, 194 Bellydance Superstars, 270 Casale, Gerard, 163 Belushi, John, 186 Cateforis, Theo, 163 Berber, Anita, 164 CBGB, 28, 77, 78, 79, 80, 151 305 bbindex.inddindex.indd 330505 88/25/09/25/09 77:58:07:58:07 PPMM 306 INDEX “charity rock,” 217–219, 221–226 Sting’s solo career and, 212, 215, 220, Chelsea, 32–33, 106, 165 222–226, 240, 256–260 Childers, Leee Black, 26–28, 29 Sting vs. Virgin Records, legal case and, Childs, Harold, 83 188, 192–196 Christgau, Robert, 161 U.S. Package of Punk, 28, 31, 48 CIA (Central Intelligence Agency), 21, 71, See also International Record Syndicate 106, 122–123, 154, 156, 247 (I.R.S.); Police, the Clash, the, 22, 27, 34, 46, 126, 205, Copeland, Stewart, 5, 60 268, 271 biographical information, 3, 13–15 Cleveland Opera, 244–248 character of, 3, 6, 36, 71, 265 Climax Blues Band, 72, 73, 75, 106, 109 “Don’t Care” (Klart Kent), 66–67 Collins, Phil, 172 drug use by, 36, 172 Columbia Records, 8, 55, 158–159, 169 Everybody Stares, 89, 271 Copeland, Ian, 14, 21–22, 124 The Holy Blood and the Holy Grail Ask Uncle Ian (Web site), 270 (opera), 244–248 biographical information and character homes of, 20–21, 91, 246 of, 70–72 illegitimate child of (Patrick), 185, 186 contributions to the Police, 23 infi delities, 36, 38, 185–186 Frontier Booking International (F.B.I.) Just the Two of Us, appearance on, 261 and, 48, 109, 151 King Lear ballet by, 242–244 I.R.S. Records, contributions to, 155 as Klark Kent, 66–67, 135 Paragon agency, work for, 109 “Miss Gradenko,” 201 strategies used to book the Police, 76, formation of the Police and, 17–18 78–79, 122 relationship with Miles Copeland III, Urgh! A Music War, contributions to, 146, 165 150–151 relationship with Sonja Kristina, 15, 18, Copeland, Miles II, 13, 21, 70–71, 21, 22, 185 122–123 The Rhythmatist, 216–217, 235, 243 Game Player, The, 156, 219–220 Rumble Fish (soundtrack), 242 Copeland, Miles III (manager), 14–15, 24, solo career of, 242–248, 252–253, 261 48, 60–61, 67, 89, 100, 156 worldview of, 121, 124, 129, 139, Ask 21 and associated labels, 258 201, 217 biographical information, 70–72, 123 See also Police, the; individual names of character of, 72, 104, 146, 225 albums and songs management style of, 74–77, 111–112, Coppola, Francis Ford, 135, 242 117, 164–169 County, Jayne (né Wayne), 27–28, 31, neo–conservative political views of, 96, 37–39, 52, 187 152–153, 156, 158, 164, 220–221, 260 on Miles Copeland, 29 new wave and, 150–169 on the Police, 37–38 offi ce at Dryden Chambers, 26, 29, 74 Coyne, Kevin, 8, 43, 45, 176 Nigel Gray and, 137, 138–139, 146 Cramps, the, 151, 155 image of the Police and, 99, 118, 121, Andy Summers’s view of, 115 126–127 Miles Copeland III and, 112–155, plans to form “the new Police,” 270 164–165, 166–168 political ambitions of, 155–157 problems with I.R.S. Records, reaction to “Roxanne,” 54–57, 55 167–168 Squeeze and, 49, 55, 58, 60, 76, 189, 194 U.K. tour with the Police, 113–115 Startruckin’ 75 tour, 72–74 Culture Club, 22, 160, 204 bbindex.inddindex.indd 330606 88/25/09/25/09 77:58:08:58:08 PPMM INDEX 307 Curved Air, 25, 26, 30, 47, 67, 75, 244 “Every Breath You Take” (the Police), 200, fi nal shows, 16–18, 23 203, 262 Stewart Copeland’s joining of, 14–15 interpretation of, 196 Czezowski, Andy, 28, 154 “Every Little Thing She Does Is Magic” role in founding the Roxy club, 31–33 (the Police), 196, 200 Strontium 90’s version of, 43–44 Dahl, Steve, 82–83 troubled recording of, 174–177 Daly, Mary, 223–226 Damned, the, 27, 33, 46 Fall, the, 165 Davis, Miles, 208, 213–215 “Fall Out” (the Police), 25, 65–66 on Sting, 213–214 Faulty Products, 30, 55, 56, 66, 75, 105, “Dead End Job” (the Police), 34 110, 165, 169 Dead Kennedys, 152–153 Dead Kennedys and, 152, 153 “De Do Do Do, De Da Da Da” (the Feingold, Michael, 250 Police), 140, 147, 227, 230 “Fortress around Your Heart” (Sting), “Demolition Man” (the Police), 173, 208, 212 182, 187 Freidman, Jane, 48, 109 writing and interpretation of, 187–188 Friend, Lonn, 256–258 Denver, John, 146 Friesen, Gil, 107, 150, 211, 239 Deptford Fun City, 49, 75 Frontier Booking International (F.B.I.), “Desert Rose” (Sting), 258–259 109, 151 Devo, 151 new wave music and, 162–163 Gang of Four, 160–161, 180–181 Dickies, the, 108, 159–160 Garbarini, Vic, 207, 211, 214, 226, Difford, Chris, 50, 76 228, 232 Disco Demolition Night, 82–83 Garcia, Bob, 81, 107–108, 113, 118, 168 Dix, Otto, 164 Garvey, Steve, 109–110 “Don’t Stand So Close to Me” (the Police), Geffen Records, 166, 257 140, 145 Geldof, Bob, 217–220 attempts at re-recording, 227, 229, 264 See also Boomtown Rats; Live Aid, Body Mist commercial and, 189, 195 Mengistu, Haile Mariam Dream of the Blue Turtles (Sting), 210, 233 Ghost in the Machine (the Police) meaning of album title, 210 critical reception of, 182 players on, 207–208 naming of, 179–180 recordings of, 207–208 recording of, 170–179, 186 “Driven to Tears” (the Police), 140 Glitterbest, 26 Dune, 248 Godley & Creme, 137, 145–146, 203–204 Duran Duran, 103, 160, 203 Go-Go’s, the, 94, 111, 153–154, 168–169 Dutilleux, J. P., 216 Gormley, Mike, 84, 166, 167 involvement with Rainforest Graham, Bill, 221–226 Foundation, 235, 236–239 Gravelle, Peter, 67–68 Gray, Chris, 54, 56, 62, 63, 90, 92–94, Electric Chairs, the, 37–39, 52 139, 146 Electric Eels, the, 162–163 Gray, Nigel, 63, 171–172 Ellis, Terry, 19–20 A&M Records, dealings with, 61, 90, EMI, 53, 55 136, 138, 144–146 Esquibel, Zecca, 28, 35, 36 Miles Copeland III, dealings with, 56, Ethiopia, famine, 217–220 61, 137–138 bbindex.inddindex.indd 330707 88/25/09/25/09 77:58:08:58:08 PPMM 308 INDEX Gray, Nigel (continued) Jones, Grace, 173 production style of, 56, 57, 63, 93–94, Jung, Carl Gustav, 182, 198, 201, 203 138–139, 145–146 as “Rock Doc,” 93, 137, 146 Kajagoogoo, 162 Surrey Sound studio and, 54–57, 61, 66, Kaye, Lenny, 38 90–94, 96, 138 Kelly, Captain Clive, 235, 236, 237 Greenfi eld, Robert, 223 Khashoggi, Adnan, 191 Grossberg, Lawrence, 160–161, 164 “King of Pain” (the Police), 196 Guinness, Marina, 185–186 Kirkland, Kenny, 207–208, 213, 214 Gurdjieff, G. I., 182 Koestler, Arthur, 179, 182–184, 187, 198 Kristina, Sonja, 15, 18, 21, 22, 185–186 Hakim, Omar, 208, 213 Hamburger, Jane, 78–79 Last Exit, 13, 18, 208 Hammersmith Odeon, 104, 151 demise of, 19–20, 23–24 Hampton, Howard, 233–234 musical style of, 12, 139 Healey, Jack, 221–226 publishing deal, 15 Hellman, Jerome, 249 Sting vs. Virgin Records, 192–194 Henry Cow, 43 Lefever, Ernest W., 220 Hillburn, Robert, 154 Leixlip Castle, 141, 142, 186 “Hole in My Life” (the Police), 63 Lepore, Louis, 28, 36, 51 Holland, Jools, 55, 152, 173 “Like a Virgin” (Madonna), 165 Homosexuals, 92–93 Live Aid, 217–220, 221, 225 Howlett, Mike, 43, 45, 174 See also Geldof, Bob; Mengistu, Human League, the, 160–161 Haile Mariam Hutcheon, Linda, 268 Live Nation, 264 Lords of the New Church, “If You Love Somebody Set Them Free” 164–165, 167 (Sting), 208 Los Angeles Personal Direction Illegal Records, 48, 75 (L.A.P.D.), 167.
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