Dr. Oz is a moron. But, today, they aired a show from last winter in which he was bragging on how good of a body Kathy Griffin has for her age.
I win, again.
I win, again.
Dr. Oz
- Thread starter C.K. Ocsevol-Evad
- Start date
"Dr Oz is a moron" unless he agrees with something I said.
- Rifle
- Rifle
Are you watching daytime TV now?
I'm going to need a shirtless pic to make sure you're still clangin' and bangin' and not sitting at home eating Haagan Dasz and smoking Camels while you feed the kids Mountain Dew and Cheetos while screaming at them to shut up because on the next segment of Dr. Phil he's going to tell you about a colon cleanse that'll get you regular again.
I'm going to need a shirtless pic to make sure you're still clangin' and bangin' and not sitting at home eating Haagan Dasz and smoking Camels while you feed the kids Mountain Dew and Cheetos while screaming at them to shut up because on the next segment of Dr. Phil he's going to tell you about a colon cleanse that'll get you regular again.
Morons aren't wrong 100% of the time. If they were, people like you, ThunderCat, and Blackie would be living like Fever does.
Now? I've been watching daytime TV for 2.5 years now. I have "worked" 4 months over the last 2.5 years. For 19 months in Florida, every day consisted of waking up, working out on the beach for 3 hours, relaxing inside for an hour, swimming in the ocean for an hour, working out inside for a bit, then either going to a show or to a long dinner. For the last seven months, I stay in bed until noon, eat breakfast, then start a workout followed by an hour hanging out at the pool. I either go to a show/game or have a long dinner somewhere.
Daytime TV has been a staple for years now. HGTV and A&E stay on my televisions.
That actually sounds both awesome and at the same time existential-crisis inducing.
I have no clue whether to be jealous or not. I think I'm jealous but I'm not sure.
Definitely not something to be jealous of. Sure, it is great to have the freedom to be lazy any day that you want, but it gets old fast. A couple of weeks ago, I had to go to a deposition. It was torture to have to get out of bed at a time I didn't get to choose, put something decent on, and have to do something I didn't want for eight hours.
You also lose your work ethic very fast. If I had a schedule/responsibilities, I would have no other choice but to take care of my chores (getting groceries, working out, laundry, sending emails, etc.) immediately during the little free time I had. But when you don't have any schedule/responsibilities, all of those things can be pushed off. Instead of having to get them done immediately, they all can be pushed off until the next day . . . which inevitably turns into days later.
I met them a few weeks ago at a U2/The Lumineers concert. Chip must wear some heavy TV makeup. In person, he looks far older and more weathered. We were in a VIP hospitality room with some others, and he was going around asking to take selfies with a bunch of people (Lance Armstrong, Kirk Franklin, a famous author I can't recall, Bono). From just a brief introduction and observation, they appear to be exactly like they are on camera in terms of personalities.
They travel with their daily assistant. I talked to her quite a bit, and I am going to Magnolia next Tuesday so she can show me around.
Would love to see pictures. For my wife of course.
You meet a ton of celebrities. I know you used to be associated (or still are associated) with the music industry. Are you meeting these people through special access at concerts (backstage passes?).
I thought to myself when I posted on this thread...I'll bet rifle will tell a story about meeting Chip and Joanna. Sure enough...
Because I don't live in LA or NY, the ice is usually broken through email introductions or at concerts when in the same city. Then, it leads to usually meeting up in LA (twice in the last month) or just recording things and sending them to each other independently.
There is a value in knowing and earning the trust of a lot of people, and that is what I am profiting on for the most part. With Billy Ocean last month, he told me that he is going to start on his last album, and he really would like to work with John Legend on a record. Two nights later, I am with John Legend and ask him about doing the Billy Ocean project, and John later asks if I could link him up with G-Eazy.
Two weeks ago, I was with the lead singer of The Lumineers. He wants to start topline writing for other artists, but he really hasn't worked with many other artists, so he wants tracks so he can try writing on them. His team reached out to invite me out. A week later, Austin Mahone's manager (he has also managed Pitbull, Flo Rida, T-Pain, and more, all of whom I have worked with) asks me to link up. So, now Austin is emailing me every night after his shows (he is on tour) with snippets he is recording to my tracks. The next night, I am with Florida Georgia Line because 1) their manager and one of the two members of FLG just signed a rapper to their label they want my help with 2) one of the two FLG members wants to write for other artists. I didn't realize how popular FLG is. They are getting crowds of 20,000+ people each night on tour. It's crazy.
Then, there are two producers whom I have worked with since 2009, and they are routinely in the mix with most projects I work on. One was with me the first week of June in LA working with Andra Day and Babyface on a project. Then, you randomly run into/meet a lot of other artists while in LA.
Out of nowhere, I'll get a text/email from somebody I haven't seen in a while (Lukas Graham, Monica, Rihanna, Post Malone) asking for a track with a certain vibe. That's when I know I have earned their trust; I go six months without talking to them, then they reach out asking for help with something they are working on and knowing I can deliver.
I originally was just taking a percentage or chunk of money upfront on projects, but I am now getting production/writing credit on a lot of them, so I will get my initial money but then royalties. My last statement from my PRO (performing rights organization - a company that charges any public place that plays music, tries to track it, then collects and disperses the money accordingly to creatives) had me around half a billion plays on YouTube alone just for that period, which doesn't count Spotify, Apple Music, iTunes sales, regular tangible CD sales, downloads, etc.
I have four RIAA certified gold records, two Grammy nominations, but I am wanting that actual Grammy. Unfortunately, the Recording Academy (which is in charge of Grammys) just changed their rules. Previously, any producer credited on a Grammy album of the year, R&B album of the year, pop album of the year, rap album of the year, etc.would also win a Grammy. Last week, the Academy changed the rules. In order for a producer to win a Grammy on one of those winning albums, the producer must be credited on at least 33% of the album. So, if 15 songs on the album total 60 minutes of music on the album, the producer must be credited on music that accounts for at least 20 minutes of that album. It is far, far tougher now, since most major commercial albums use multiple producers throughout an album.
There is a value in knowing and earning the trust of a lot of people, and that is what I am profiting on for the most part. With Billy Ocean last month, he told me that he is going to start on his last album, and he really would like to work with John Legend on a record. Two nights later, I am with John Legend and ask him about doing the Billy Ocean project, and John later asks if I could link him up with G-Eazy.
Two weeks ago, I was with the lead singer of The Lumineers. He wants to start topline writing for other artists, but he really hasn't worked with many other artists, so he wants tracks so he can try writing on them. His team reached out to invite me out. A week later, Austin Mahone's manager (he has also managed Pitbull, Flo Rida, T-Pain, and more, all of whom I have worked with) asks me to link up. So, now Austin is emailing me every night after his shows (he is on tour) with snippets he is recording to my tracks. The next night, I am with Florida Georgia Line because 1) their manager and one of the two members of FLG just signed a rapper to their label they want my help with 2) one of the two FLG members wants to write for other artists. I didn't realize how popular FLG is. They are getting crowds of 20,000+ people each night on tour. It's crazy.
Then, there are two producers whom I have worked with since 2009, and they are routinely in the mix with most projects I work on. One was with me the first week of June in LA working with Andra Day and Babyface on a project. Then, you randomly run into/meet a lot of other artists while in LA.
Out of nowhere, I'll get a text/email from somebody I haven't seen in a while (Lukas Graham, Monica, Rihanna, Post Malone) asking for a track with a certain vibe. That's when I know I have earned their trust; I go six months without talking to them, then they reach out asking for help with something they are working on and knowing I can deliver.
I originally was just taking a percentage or chunk of money upfront on projects, but I am now getting production/writing credit on a lot of them, so I will get my initial money but then royalties. My last statement from my PRO (performing rights organization - a company that charges any public place that plays music, tries to track it, then collects and disperses the money accordingly to creatives) had me around half a billion plays on YouTube alone just for that period, which doesn't count Spotify, Apple Music, iTunes sales, regular tangible CD sales, downloads, etc.
I have four RIAA certified gold records, two Grammy nominations, but I am wanting that actual Grammy. Unfortunately, the Recording Academy (which is in charge of Grammys) just changed their rules. Previously, any producer credited on a Grammy album of the year, R&B album of the year, pop album of the year, rap album of the year, etc.would also win a Grammy. Last week, the Academy changed the rules. In order for a producer to win a Grammy on one of those winning albums, the producer must be credited on at least 33% of the album. So, if 15 songs on the album total 60 minutes of music on the album, the producer must be credited on music that accounts for at least 20 minutes of that album. It is far, far tougher now, since most major commercial albums use multiple producers throughout an album.
Which part? I know it is shocking that a man of my stature and accomplishment spends so much time interacting with plebes, but I am a man of the people.
I just hope you are never subjected to having to actually listen to Florida Georgia Line's music. No one with any level of intelligence should have to do that - even you.
I'm not a country fan, so I am only familiar with three of their songs (they were so big that it is hard to not have heard them many times). The bridge on "H.O.L.Y." starting at 2:40 is really good. It is a well-written song. I don't know you could like artists such as - say, Eric Clapton - but not like that song.
They do have the bro-country sound. Are you anti-Chase Rice also?
