Nike stock closes at all time high
- Thread starter HerdBuckeye
- Start date
Just keeps soaring. New highs again today. Keep burning your shoes Rox..... Nike thanks you.
The lack of originality and humor in this attempt is bad, but it isn't anywhere close to being as bad about getting caught lying on here out of insecurity for your lack of intelligence.
Which part was too hard for you and @ThunderCat98 to read? I clearly said that it was from the artist's team. Further, the email came from an "@qq.com" domain, which when I googled it, only brings up Chinese websites. Not only do you both struggle with reading, but you also struggle with life knowledge. Google did (and possibly still does) refuse to cooperate with the government of China to block websites, so Gmail isn't available there. Yahoo does (or at least did as of a couple of years ago) agree to block the websites China wanted from IP addresses there, so Yahoo Mail is pretty popular there.
Yeah, I should probably just stick to talking about how I meet for coffee with guys who own expensive sports cars.
I'm neither, but I'd be up for comparing both with anyone on this board.
You should spend less time working on "Coffee & Cars" and more time on timelines.
I had my first major label placement in 2008. I had my first million dollar annual revenue period in music from October 2008 - September 2009. I didn't start coaching until 2012. So music was before coaching. I first met Taylor (the plane, golf, meeting situation) October 31st, 2015, which is more than three years (not "less than two") after I started coaching and more than seven years after my first major music success.
For which ones (though not all of the following are A-listers)? Taylor Swift, Mya, Ice Cube, Jeezy, Jay Z, Christina Aguilera, Nas, Kendrick Lamar, DJ Khaled, Rick Ross, John Legend, Flo Rida, T-Pain, Akon, Rich Homie Quan, Juelz Santana, Meek Mill, Wale, Trey Songz, J Cole, Chris Brown, Mary J Blige, Backstreet Boys, 98 Degrees, Lil Wayne, Frankie J, Baby Bash, Lights, Tamar Braxton, French Montana, Fat Joe, Pusha T, Matty B, Cam Anthony, Wyclef, Lauren Hill, G Eazy, Jadakiss, Post Malone, Jessie J, Camila Cabello, Fifth Harmony, Ed Sheeran, Monica, Tamia, X Ambassadors, Tory Lanez, Royce da 5'9, Maluma, Machine Gun Kelly, Action Bronson, Tank, Kelly Clarkson, Beyonce, Florida Georgia Line, Austin Mahone, The Lumineers, Scarface, Cyhi da Prynce, Bun B, Eric Benet, The Isley Brothers, Slick Rick, Lukas Graham, The 1975, Eve, MC Lyte, Sevyn, Kelsea Ballerini, Kacey Musgraves, Kenny Babyface Edmonds, 2 Chainz, Lil Dicky, Hailee Steinfeld, Shawn Mendes, Naughty by Nature, Wisin, Eli Young Band, Pharrell, Nelly, Meghan Trainor, Kem, Styles P, Waka Flocka, Logic, Neyo, Rihanna, Demi Lovato, Robin Thicke, Teddy Riley, Kellie Pickler, Alessia Cara, Carly Rae Jepsen, Joey Badass, Debby Ryan, Raelyn, Johnny Gill, Stanaj, Ghostface, Rae Sremmurd, DJ Mustard, Wiz Khalifa, or any of the other dozens? I could be here all week depending on how many you wants answers for, so pick a few, and I'll answer.
I don't know. Maybe I'm just not smart enough to follow it, kind of like you and that Harvard report.
I followed it. I also found flaws in their research. I didn't remember every single aspect of their conclusion since I read it when it came out, which is why I used backslashes to list whatever aspect it was they claimed to have researched. I also read it somewhere between 1-2 years ago, when it first was published, and remembered the single most important finding of it. I also remember that the professor behind it was barred from labs at Harvard just a handful of months ago for improper behavior.
Not being smart enough for something is asking somebody to provide proof of something, getting shown to be wrong on exactly what you challenged, and then coming back and arguing that what you originally asked isn't what you meant.
So what is that you did with these artists? You had a record label? Do you still own it or did you sell it? I remember @Stone_Cold calling you a limo driver all the time. Did you have a company that provided transportation for these celebs?
Not trying to talk smack, I just don't understand why you would leave all that success and potential revenue to be an assistant college football coach?
I don't drink coffee. It's just a few close friends getting together to shoot the sh!t occasionally. "Cars and coffee" is a generic name of a national event where guys (mostly gear-heads; not many of your ilk) get together and appreciate other guys' cars.
But I'd like to hear about the value you bring to all the people you listed above. What exactly do you do for them, and how do you monetize it?
Can you punch her in the face next time you see her? I find her to be one of the most annoying human beings on the planet, and I find her songs unbearable. They're all about her slamming guys that hit on her. If you've ever seen her, you'd know that she should probably take whatever she can get and be thankful for it. I just find it hard to believe that there are too many guys hitting on her fat a$$.
Sort of like you when you play the "reading comprehension" card.
Yeah, but you would also allow a black snake to blow you, if you thought it wouldn't bite you.
I was one of five directors (partners) of a company that owned over 400 vehicles (the overwhelming majority being motor coaches, mini buses, luxury sedans). I believe we only had between 4-10 stretch limousines. Yes, we provided celebrities with transportation around the world, but that had nothing to do with music.
Why would I turn that down? It wasn't something I enjoyed or had a passion for. I could make a nice living in numerous industries, but that wasn't one I had a passion in. My entire Saturdays were spent from 10 am (College Gameday start at the time) to 2 am Sunday watching college football all day on multiple televisions. I wouldn't even leave to get food. My meals would all be delivered. The same thing held true for the weeknight games. That was my passion, so if I had made enough money that I could not have to worry about making money while still pursuing something I enjoyed, why would I not? If you could spend every minute around your family all day, would you choose to do that instead of working if money wasn't a factor? Of course you would.
I won't take the time to list every single one of the dozens I mentioned, but I'll start you with one example to show you how one simple relationship can develop into a ton of successful other relationships. What you'll notice is a continued trend of relationships and loyalty from those I've worked with which would look like a spider web if you drew all of the links together:
Mya - In December '08/January '09, I helped Mya (who was also living in DC) transition from her major label situation to being independent. The two biggest issues with going independent are promotion and distribution. Marketing takes big money (especially back then), and most independent artists don't have a huge budget for marketing. Without a distribution deal, you have no chance of getting your tangible product in stores. I brokered a deal with a Japanese subsidiary of an American label called Manhattan Records to distribute her project only in Japan. It moved solid numbers there and led to modest money for me, but more importantly, led me into being a big part of her debut mixtape, where I brought on Bun B (who you've seen me with in pictures) and Nicki Minaj (who you've seen me with in pictures). This debut mixtape was released in September of 2009. Nicki Minaj signed with Lil Wayne's Young Money just weeks earlier and still was an unknown at the time, but having helped her in the past, she was willing to do a feature for free even though she had a new label deal and was about to explode.
During the spring of '09, while making this mixtape, I brokered a deal to get Mya on "Dancing with the Stars" for that fall's season. As I mentioned, a huge problem with being independent is promotion/marketing since there isn't a budget for that without having a major label backing you. What would be a better marketing/promotion opportunity than getting Mya on a show which was watched every single week by 18 million Americans AND gets a ton of major, national media coverage every single week? So, I made sure that this mixtape was done before her start on the television show, so that the show could be used not only for a nice payday, but also for free marketing of the mixtape that would be more than any major label could provided with even a multi-million budget. Mya made about $345,000 from her three months on DWTS. Acting as the agent/manager for that, I took the usual 20% which paid me $70,000 just for the show portion of that situation. While on the show, Mya received a ton of other endorsement deals (ranging from getting her own milkshake named after her at a very popular LA milkshake store to national campaigns). Taking 20% of all of those led to me getting about the same payday as what I received for her DWTS work. Then, I also received a small fortune for my part of the mixtape earnings. At the same time, I further solidified my relationship with Nicki Minaj, and since she had just signed to the label that Lil Wayne owned, it opened up my relationship with him (which would pay off multiples times over the next bunch of years). As you may or may not know, my company is "K.O. Kid." It isn't a coincidence that Nicki has used "K.O." frequently in her raps under the guise of "knockout," including one early mixtape saying "when I rap, it's for K.O."
In 2009 alone, Mya made more than $2 million . . . and I take a decent percentage of that not to mention royalties for eternity. Besides getting nice paydays from my work with her, what else could I do to promote revenue with Mya? 90 minutes away, I had been introduced to a talented but undeveloped new producer. I wanted to help get him on the scene while also helping myself. Part of my DWTS deal with Mya included an agreement that she would travel to Richmond and get some studio sessions with the producer. That would put Mya and I together in the car for 3 hours together, all day/night in the studio to further develop that relationship, and link her with this producer. If Mya ended up buying tracks from that producer, not only would I be looked upon good from this young kid for helping him earn nice paychecks, but I'd also take my own cut from his earnings. In time, we (this producer and I, since we ended up becoming production partners and have maintained that for almost nine years now in which we have produced dozens of records for major label artists which not only yields significant money for the sale of each track, not only yields significant money in royalties every quarter for eternity, but also gives me opportunities to build relationships with those other artists) would do two additional records with Mya.
But for DWTS, I was flying out to Los Angeles every Saturday/Sunday, and then taking a red eye back every Tuesday night after the results show. Being out there with Mya every week for three months led me to meeting and developing relationships with dozens of other people ranging from Christina Aguilera to Ozzy Osbourne to Dionne Warwick/Damon Elliott. Christina and Mya made a smash hit together called "Lady Marmalade" that they won a Grammy for along with Pink and Lil Kim. Christina, at the time, was filming the movie Burlesque with Cher. Most of the movie was filmed about 30 minutes from LA. Christina was going through a separation at the time, and Mya thought we'd hit it off, so she arranged for us to meet. Mya also introduced me to Dionne Warwick and her son Damon Elliott. Damon had produced records for Jessica Simpson, Pink, Destiny's Child/Beyonce, Mya, etc. at that point. You can see pictures of all of us together from 2009. Damon's career had fallen off a bit since then - he hadn't had a placement in over five years. But he had name value and connections, so I helped him get some sessions with other artists I had met. What did I get out of that? Nothing at the time. But it allowed for something far bigger - earlier this year, he was going to be opening (as an artist) for Lauryn Hill on her mini-tour. I told him that I would be interested in executive producing an album for Ms. Hill. My name, at this point, was established enough that Ms. Hill and her team would be interested in hearing what I could do for them, so they asked me to come out to Hawaii for a few days to spend some time with her to get to know each other. So, earlier this year, I went to Hawaii for a week while Ms. Hill was there for 2-3 shows (where you've seen me in pictures with both Damon and Ms. Hill). I was able to spend a few days with Ms. Hill so we could get to know each other. She ended up wanting me to executive produce her next project when she's done with her tour. What benefits can I provide to Ms. Hill, since she wants to stay indie and not sign to a major label so that she can have more control of her music and keep a bigger chunk of her earnings? First, I can provide the same thing that a label can in terms of advances - I won't need to get paid up front; I take everything on the back-end which is important to her since any costs associated with the album would come out of her pocket, which isn't exactly overflowing since she only made one solo album in her entire life (which was a massive hit) and has had serious tax trouble in the recent past. More, my relationships with other artists would allow them to trust me to the extent that they would agree to be featured on her album, not be concerned about getting their fee up front, and trust me that the album will be a huge success making it worthwhile for them to also take their income on the back-end of the project. But why would I want a bunch of other major artists featured on her records if that means they end up getting royalties/cuts from it? Remember what the biggest issue is with indie artists? Marketing/promotions. But if you have a ton of major artists featured on the album, the marketing does itself. These majors artists are tweeting about them working with Ms. Hill on a record, Instagramming pictures with her in the studio, etc. Their fans are wanting to hear the project they did with Ms. Hill. Check out what Adele said yesterday about Ms. Hill. So over the last six months, I've met with and have received commitments from Nas (previous relationship who I've done two records with), Kehlani, J Cole, Kendrick Lamar (who I've done a record with), G Eazy, Sam Harris (lead singer of X Ambassadors), and Wyclef (who I've done a record with, who was a huge part of Ms. Hill's past success, and who has had a long estranged relationship with). If the project does happen, it will lead to a huge payday, but even deeper relationships with all of those whom I named for me having brought them on board.
Through Mya, I was introduced to an agent (Marty Diamond) who was representing Kem. Kem's manager linked us up to meet years ago. Kem and I have never done a record together, but that same manager (his now ex-manager) also happens to manage Eric Benet. After getting me linked up with both Kem and Eric, that manager asked for a favor with her newest artist, a teenager named Cam Anthony. Cam just won "Talent at the Improv," the nationally televised show hosted by Steve Harvey. Cam is signed to Dr. Dre's label, Aftermath/Interscope. The manager wanted records/tracks from me, I sent a bunch over, and two are going to be on his debut. That means another $50,000 not to mention royalties for eternity and deeper relationships with that team of artists. One of those two records is also featured in a Jeep commercial starring Cam which hasn't aired yet and will lead to significant money.
Mya's publicist at the time was a young girl who ended up repping yet another female singer in Tamar Braxton. That led to her linking me with Tamar's manager a few years ago which resulted in another record placement (another $25,000 plus royalties).
So, from my relationship with just Mya, it has earned me nearly $1 million in less than a decade, significant relationships, and potential for far more money based on what projects come to fruition.
A similar spider web can be shown with my relationship with DJ Khaled and the numerous intertwined legs that came from that. That includes spinning deals with Rick Ross, Jay Z, Jeezy, Ace Hood, Juelz Santana, John Legend, Nas, and many others. At the same time, he has benefited from the relationship by providing tracks to many of this artists which earns him (them) money, as well as me introducing him to artists he didn't have relationships with including Fifth Harmony and Earl Sweatshirt.
I can do the same with Rihanna showing how my relationship with her led to working with numerous writers which yielded records for other major artists.
Once you start succeeding and building the relationships, others look to you for help. Then, you get aspiring producers/writers wanting help from your relationships, so they send you some of their work. If any of it is good, it leads to those tracks/records getting placements. You then earn money for them, money for yourself, royalties for both, and have artists loving you and trusting you more for providing them with quality records.
So back to Taylor Swift, October of 2015. She's one of the biggest three music stars in the world. She can get access to any record/producer she wants, and she is a huge talent writing her own hooks. What did she need from me? First, she needed my Grammy vote. She wanted to win Album of the Year more than anything, since her only other win was years earlier as a country artist. If she could win it again by doing another genre of music, she would cement herself as one of the biggest music acts of all time . . . and that's what she did. She also was planning on making her next album (which has since been released) more heavy with hip-hop features, and building relationships with somebody who could help her in that regard was essential. Finally, she's an ingenius business woman. She knows her aging limits her to certain audiences, and she wants to extend her influence on all age groups as long as she can. Knowing that, she wants to have relationships with anyone who can help her prolong that.
The numerous huge Latin stars I have met with over the last year . . . they need help breaking into the U.S. mainstream market. They make multi millions every year in the Latin market, but they need help in the U.S. Why do they want me? I can provide them with tracks that are more befitting of what the U.S. demographic likes, get them features from top American artists, and push them into the U.S. segment. The Chinese pop star from the email - same thing. She doesn't have an American-friendly sound and has no notoriety here. She needs American tracks, help with getting publicity (American blogs, curators on top Spotify playlists, meeting American major label executives), etc. Those are all things her team has been told I can do by somebody.
Nas . . . besides doing two records with him, I present some quality investment opportunities for him. He (along with his manager) has made more from his investments than he has throughout his entire music career. I just spoke to them last week about a new cell phone which films and shows video in what appears to be 3D on the phone. The founder has a couple of professional athletes who have invested, just met with Snoop about it, and wanted me to get a couple of others invested. I'd receive either a chunk of those investments or some form of stake in the company.
The below picture is from BMI, a performance rights organization. Their job is to collect and distribute money to creatives (writers, producers, artists) for their music that is played in public spaces. So, anywhere music is played (bars, sports stadiums, stores, elevators, radio, Spotify, etc.), it earns money for the creatives. All of those companies have to pay a fee to BMI (or one of their two competing performance rights organizations) to legally be able to play the music. BMI then uses its formula to determine which songs are played the most in order to pay the creatives their fair share. BMI then sends checks to the creatives each quarter on top of regular royalties earned from the music. The money is substantial. Smash hits like Rihanna's "Umbrella" earned the producer of that record (Tricky Stewart) an estimated $20 million in royalties . . . from producing just one record.
Through Mya, I was introduced to an agent (Marty Diamond) who was representing Kem. Kem's manager linked us up to meet years ago. Kem and I have never done a record together, but that same manager (his now ex-manager) also happens to manage Eric Benet. After getting me linked up with both Kem and Eric, that manager asked for a favor with her newest artist, a teenager named Cam Anthony. Cam just won "Talent at the Improv," the nationally televised show hosted by Steve Harvey. Cam is signed to Dr. Dre's label, Aftermath/Interscope. The manager wanted records/tracks from me, I sent a bunch over, and two are going to be on his debut. That means another $50,000 not to mention royalties for eternity and deeper relationships with that team of artists. One of those two records is also featured in a Jeep commercial starring Cam which hasn't aired yet and will lead to significant money.
Mya's publicist at the time was a young girl who ended up repping yet another female singer in Tamar Braxton. That led to her linking me with Tamar's manager a few years ago which resulted in another record placement (another $25,000 plus royalties).
So, from my relationship with just Mya, it has earned me nearly $1 million in less than a decade, significant relationships, and potential for far more money based on what projects come to fruition.
A similar spider web can be shown with my relationship with DJ Khaled and the numerous intertwined legs that came from that. That includes spinning deals with Rick Ross, Jay Z, Jeezy, Ace Hood, Juelz Santana, John Legend, Nas, and many others. At the same time, he has benefited from the relationship by providing tracks to many of this artists which earns him (them) money, as well as me introducing him to artists he didn't have relationships with including Fifth Harmony and Earl Sweatshirt.
I can do the same with Rihanna showing how my relationship with her led to working with numerous writers which yielded records for other major artists.
Once you start succeeding and building the relationships, others look to you for help. Then, you get aspiring producers/writers wanting help from your relationships, so they send you some of their work. If any of it is good, it leads to those tracks/records getting placements. You then earn money for them, money for yourself, royalties for both, and have artists loving you and trusting you more for providing them with quality records.
So back to Taylor Swift, October of 2015. She's one of the biggest three music stars in the world. She can get access to any record/producer she wants, and she is a huge talent writing her own hooks. What did she need from me? First, she needed my Grammy vote. She wanted to win Album of the Year more than anything, since her only other win was years earlier as a country artist. If she could win it again by doing another genre of music, she would cement herself as one of the biggest music acts of all time . . . and that's what she did. She also was planning on making her next album (which has since been released) more heavy with hip-hop features, and building relationships with somebody who could help her in that regard was essential. Finally, she's an ingenius business woman. She knows her aging limits her to certain audiences, and she wants to extend her influence on all age groups as long as she can. Knowing that, she wants to have relationships with anyone who can help her prolong that.
The numerous huge Latin stars I have met with over the last year . . . they need help breaking into the U.S. mainstream market. They make multi millions every year in the Latin market, but they need help in the U.S. Why do they want me? I can provide them with tracks that are more befitting of what the U.S. demographic likes, get them features from top American artists, and push them into the U.S. segment. The Chinese pop star from the email - same thing. She doesn't have an American-friendly sound and has no notoriety here. She needs American tracks, help with getting publicity (American blogs, curators on top Spotify playlists, meeting American major label executives), etc. Those are all things her team has been told I can do by somebody.
Nas . . . besides doing two records with him, I present some quality investment opportunities for him. He (along with his manager) has made more from his investments than he has throughout his entire music career. I just spoke to them last week about a new cell phone which films and shows video in what appears to be 3D on the phone. The founder has a couple of professional athletes who have invested, just met with Snoop about it, and wanted me to get a couple of others invested. I'd receive either a chunk of those investments or some form of stake in the company.
The below picture is from BMI, a performance rights organization. Their job is to collect and distribute money to creatives (writers, producers, artists) for their music that is played in public spaces. So, anywhere music is played (bars, sports stadiums, stores, elevators, radio, Spotify, etc.), it earns money for the creatives. All of those companies have to pay a fee to BMI (or one of their two competing performance rights organizations) to legally be able to play the music. BMI then uses its formula to determine which songs are played the most in order to pay the creatives their fair share. BMI then sends checks to the creatives each quarter on top of regular royalties earned from the music. The money is substantial. Smash hits like Rihanna's "Umbrella" earned the producer of that record (Tricky Stewart) an estimated $20 million in royalties . . . from producing just one record.
Here is my approved BMI list from just 2018 of the songs I am credited as a producer/composer/writer. This takes into account only those songs from 2018, and there are about ten more they haven't approved yet/started paying me on until they get all of the legal documents from each and confirm I am credited on them:
At this point, I've involved into making a ton of money producing and/or providing tracks to artists simply because I can do that, time wise, with football. The other stuff takes too much time. But for many of those artists, I provide more than one thing and entirely different things for a lot of them.
At this point, I've involved into making a ton of money producing and/or providing tracks to artists simply because I can do that, time wise, with football. The other stuff takes too much time. But for many of those artists, I provide more than one thing and entirely different things for a lot of them.
Here is my approved BMI list from just 2018 of the songs I am credited as a producer/composer/writer. This takes into account only those songs from 2018, and there are about ten more they haven't approved yet/started paying me on until they get all of the legal documents from each and confirm I am credited on them:
At this point, I've involved into making a ton of money producing and/or providing tracks to artists simply because I can do that, time wise, with football. The other stuff takes too much time. But for many of those artists, I provide more than one thing and entirely different things for a lot of them.
Will you one day write a song about guys like @Herd Fever ?
