THE POLICE drummer Stuart Copeland son of OSS CIA founding member
Apparently, only offspring of military intelligence can make it huge in MK Music Industry.
Perfectly fits the ‘all major successful musical acts had direct military intelligence in-family’ discovered by DAVE MCGOWAN in his online series and book INSIDE THE LC / WEIRD SCENES INSIDE THE CANYON
Stewart Copeland, best known as the drummer for the band The Police, is the son of Miles Axe Copeland Jr., who indeed had connections to the Office of Strategic Services (OSS) during World War II. The OSS was a precursor to the Central Intelligence Agency (CIA). Miles Axe Copeland Jr. served as a founding member of the OSS and later worked for the CIA as a consultant.
However, it’s important to note that the mere fact of family connections to the OSS or CIA does not imply any direct involvement in intelligence activities by Stewart Copeland himself. While his family background may be of interest, there is no evidence to suggest that Stewart Copeland was directly involved in intelligence work or that his career in music was influenced by such connections.
Stewart Copeland’s primary legacy lies in his significant contributions to music as the drummer and co-founder of The Police, one of the most successful and influential bands of the late 1970s and early 1980s. His innovative drumming style and songwriting talents have earned him widespread acclaim and recognition in the music industry.
Miles Copeland Jr. was a U.S. intelligence officer and founding member of the CIA (via its predecessor, the OSS). However, the Miles Copeland connected to the bands The Police, FBI, and others is his son:
Miles Copeland III – Music Manager and Founder
- Born: 1944, London
- Father: Miles Copeland Jr., CIA officer
- Profession: Music manager, record executive, founder of I.R.S. Records
Miles Copeland III is the founder of I.R.S. Records and is known for managing The Police, FBI, and Squeeze, among others.
The Police
- Members: Sting (vocals, bass), Stewart Copeland (drums — Miles III’s brother), Andy Summers (guitar)
- Formed: 1977
- Managed by: Miles Copeland III
Role of Miles:
- Signed The Police to A\&M Records
- Financed their debut single “Roxanne” after A\&M initially passed on it
- Managed their rise from punk-reggae hybrid into a global rock powerhouse
- Instrumental in their U.S. breakthrough via college radio and new wave promotion networks
- Helped make them one of the biggest bands of the 1980s
Occult/Industry Notes:
- Miles leveraged his knowledge of influence, promotion, and psychological manipulation (likely inherited from his father’s intelligence background)
- The Police’s lyrics, symbols (e.g., pyramid/eye in some visuals), and name have sometimes been interpreted as suggestive of deeper themes — some critics have noted the irony of their name, “The Police,” in the context of Copeland’s CIA family legacy
FBI (Band)
- Formed by: Miles Copeland III in the late 1970s
- Genre: New wave / punk-funk
- Featured: Former members of other punk and mod revival bands
- Not commercially successful, but was part of Copeland’s push to find crossover acts with post-punk energy
Notes:
- A short-lived experiment in repurposing the energy of punk with funk/dance crossover elements
- Symbolic band name (“FBI”) may be a satirical nod to Miles Copeland’s intelligence roots — ironic considering his father’s involvement in CIA/OSS, and brother Stewart in The Police
Squeeze (The Third Major Band)
- Formed: 1974 (UK)
- Managed briefly by: Miles Copeland III
- Genre: New wave, power pop
- Known for: Clever, Beatle-esque songwriting, hits like “Tempted,” “Cool for Cats”
Role of Miles:
- Helped them connect with the U.S. market during the new wave boom
- Although their main long-term management shifted, Miles was pivotal in early U.S. promotion via I.R.S. Records connections
I.R.S. Records
- Founded: 1979 by Miles Copeland III
- Full name: International Record Syndicate
- Focus: New wave, punk, alternative rock
- Notable acts: The Police, R.E.M., The Go-Go’s, Fine Young Cannibals, Wall of Voodoo, Dead Kennedys (distribution), Buzzcocks (US releases)
Strategy:
- Miles used college radio and MTV to promote edgy but accessible acts
- He bypassed major label bottlenecks by creating alternative media circuits — revolutionary for the era
- Some of the acts signed to I.R.S. had a subversive, rebellious, or even dystopian tinge — themes that align with critiques of media control, state power, and mass influence
Deeper Context – “Spycraft to Soundcraft”
- Miles Copeland Jr. (his father) was deeply involved in Middle Eastern intelligence operations, helped overthrow governments (e.g., 1953 Iran coup), and wrote “The Game of Nations”
- Many speculate that Miles III absorbed the manipulation techniques of covert influence and reapplied them to the music business:
- Controlling public taste through image, mystique, promotion cycles
- Creating mystified icons (like Sting) with ambiguous, layered messaging
- Promoting rebellion — but through carefully controlled channels
Summary
| Band | Role of Miles Copeland III | Notable Points |
|---|---|---|
| The Police | Manager, promoter, financer | One of the biggest global bands of the ‘80s; brother Stewart Copeland on drums |
| FBI | Creator/producer | New wave/punk-funk experiment with a likely satirical intelligence nod |
| Squeeze | Early management/promoter | Part of his larger I.R.S. strategy to dominate the alt-pop wave |
Sources
- https://www.allmusic.com/artist/miles-copeland-iii-mn0001146639
- https://www.loudersound.com/features/the-police-the-inside-story
- https://en.wikipedia.org/wiki/I.R.S._Records
- https://www.dailystar.co.uk/showbiz/stings-former-manager-miles-copeland-24378225
- https://www.washingtonpost.com/archive/lifestyle/1986/01/02/a-quiet-life-after-the-cia/c5eb3c3f-15f2-4378-8f64-33bc9f8aab1b/
OYSTERHEAD Grand Pecking Order, class-a odd album
Was it really all mind-control, societal manipulation, culture creation and misdirect ?! What was “punk” so important to the establishment machine?