Digital Social Hour - Hollywood Producer Reveals Hollywood Secrets | David Weintraub Digital Social Hour #81

Episode Date: August 24, 2023

David Weintraub reveals what it takes to make it in Hollywood. David Instagram: https://www.instagram.com/sirdavidwei... David Course: https://www.thehollywoodhandbook.com David Company: https://www.dwetalent.com BUSINESS INQUIRIES: [e-mail] APPLY TO BE ON THE POD: https://forms.gle/qXvENTeurx7Xn8Ci9 SPONSORS: AG1: https://www.drinkAG1.com/DSH Hostage Tape: https://hostagetape.com/DSH --- Support this podcast: https://podcasters.spotify.com/pod/show/digitalsocialhour/support Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

I remember the start of the Kardashians. He was just kind of like there. So how was that transition of making him like come out as Scott? Like, you know, Scott met Kourtney through me and my friend Sean Stewart. He would come to LA with no clothes, no nothing, no watch, no anything. And he was living on my couch. I think Kylie's a million to post, right? What?

I've done deals for Kylie. I mean, you could buy Kylie for $250,000. You could buy her for a million. Welcome to the Digital Social Hour. I'm your host, Sean Kelly. Here with my co-host, Wayne Lewis. What up, what up? And our guest today, David Weintraub. How's it going? How are you, man? Thanks for having me. Absolutely.

How you doing? Great to see you all. Can't complain. I'd love to hear a brief summary of your life. A brief? A 60 second. Yeah, I got to do a real brief. You know, I am a entertainment executive, TV show creator, manager, producer. I was a former agent. I got my start as an A&R at Interscope and Death Row Records,

working with the heyday of the Dog Pound and Snoop and Tupac. Worked for Eminem for a while. Was a talent agent at William Morris and UTA. And I've had my own management company and production company for the last 15 years, made over 2000 hours of television. And, you know, we've represented everybody from 50 Cent to Sarah Palin to Ray J. Scott Disick and, you know, the Housewives and Love and Hip Hop cast and every reality star under the sun. And now we've segued into the influencer space heavily. Wow. So the influencer business is really like a key point of entry now for us in the digital media space. That's insane.

So you grew up around a lot of celebrities and you found a way to monetize it basically. Yeah. You know, growing up in Beverly Hills, I, you know, I come from a family of like doctors and lawyers. But everybody that I was surrounded with, they were all like studio chiefs and actors and record company owners and like, you know, billionaires. And of course, like I grew up in a great household and, um, I was able to, you know, make some great relationships in the private school system at, uh, in Beverly Hills. And, uh, I wanted to not be a doctor or a lawyer and I wanted to become, you know, an entertainment mogul. And, um, one of my best friends, uh, who was my co-star of my first TV show, Sons of Hollywood on ANA, uh, his dad is Aaron Spelling, who was the most prolific television producer of all time.

So I was able to live, you know, 16 years watching Aaron and his lifestyle and his business and all of the crazy TV shows that he made. So I wanted to be someone that was not only an executive, but somebody that was able to come up with their own content ideas and then take them from like a thought in your head to full fruition. And I've been blessed to be able to do that in the non-scripted pop culture world not in the scripted world that he was in right but in our own little segmented world of pop culture so speaking of the non-scripted world you were able to get the biggest deals of all time in that world yeah i mean for me i have like we've hit some record precedent hitting deals for talent in that world with uh you know ray j i mean a lot of people

don't know that but ray j is like the highest paid guy in all of non-scripted male fronted reality tv i mean this is a guy that you know makes the close to two hundred thousand dollars per episode on a tv show wow every episode so if they order 20 episodes times two hundred thousand you know that's a bag be done every six months yeah that's a bag right there i didn't already make that much i didn't either no i didn't know either so him and you said so scott disick is your guy too right scott disick was uh well you know scott likes uh how did that transition go because he i remember the start of the kardashians he was just kind of like there then he just kind of showed up so how was that transition of making him like come

out as scott like you know scott met courtney through me and my friend sean stewart okay and we had our tv show sons of hollywood right and that was about a year before the kardashian show was picked up and then came out so he was kind of just you know moving along knowing us and we knew them and he you know they had they fell in love. And then when it came time for him to need a deal, I was the manager. I was the agent. I was the guy that knew how to do that. So I put together the team. So. You know, he's a he's a guy who had a big personality and was able to be in the right place at the right time and have a relationship with somebody who exploded in television and subsequently he got to go along for the ride now i'm not saying

that's the trick to the trade for everybody out there but you know a lot of people can fake it till they make it right you know he was living on my couch wow you know he would come to la with no clothes no nothing no watch no anything and basically be on sean stewart's couch or my couch and trying to be in our shows and through that he you know hit the jackpot yeah it became sky now yeah he's a no it wasn't rags he's from the hamptons is it no he's from i mean he's not from the there's a lot of like i don't want you know that's my bro i like yeah yeah but like yeah you know like like i can't give him the rag i mean i mean if you look, that's my bro. Yeah, yeah, yeah. I don't have a love for him, but like, you know, like. I can't give him the raggedy riches. I mean, if you look at all of my TV shows, my first TV shows, when you see like people in the suits pulling up the way they pull up, everything that he aspired to dress like and be on TV, I was doing, you know, before that. Oh, okay.

So you got to like learn from somebody. Right, right, right. You were also the youngest talent manager ever at UTA. I was a talent agent at that point. Right. You were also the youngest talent manager ever at UTA. I was a talent agent. Yeah. So, um, so I spent two years at William Morris and then I spent six and a half years at UTA and, uh, UTA was a motion picture talent agent. So technically I was supposed to like read scripts and like look for movie deals for, you know, the Jack Blacks and the Owen Wilsons and the Harrison Fords and all these people. And and all these people and try to find movies for them. But I wound up signing a lot of people that were emerging as pop culture talent, like the Osbournes and Paris Hilton and the kids from Laguna Beach and the kids from the Hills and this sort of wave of pop culture that was happening.

Those were kids that I knew. So those were like the influencers before influencing right and uh through that i was able to really move my way up very quickly in the agency world so i was like suit and tie guy you know black card from the agency you know meetings lunches you know breakfast and uh going to premieres and every event under the sun and you know just being a part of that hollywood community in a very uh you know breakfast and uh going to premieres and every event under the sun and you know just being a part of that hollywood community in a very uh you know front-facing way which i'm not now i'm really more of a you know i don't i don't do all the events and all that i try to like you know i don't feel like that's uh good for you know actually closing deals so back then i was you

know mr personality out at everything. And that's kind of why A&E decided to do a television show about my life. Wow. But yeah, I was, I was the, you know, I got promoted to agent at 20, 24 years old. Wow. So you didn't even go to college. No, I did. I went to USC. Oh, you did. Yeah. I went to, yeah, I studied business, entertainment business there. Wow. So I, I, my I went to USC. Oh, you did? Yeah, I went to, yeah, I studied business, entertainment business there. Wow. So my first job was at Interscope Records. It was an internship when I was 15.

To a full-time job. That's high school, 15? As a junior A&R. And then Interscope owned Death Row. So I started working at Death Row. And then Death Row let me stay on and work at Death Row while I was in college. Got it. And then my buddy discovered Eminem, took Eminem to Dre, and I wound up leaving Death Row to go work for Eminem.

Can't complain with that move. What did you do for Eminem? And let me ask you a question. How did you not, well, I don't know, but how are you not like f*** not like up mentally you don't know me well enough i am i'm a man well i mean you don't you don't seem like like you just seem like you know like most cast is like you meet them and it's like yeah i got them you know you know the industry usually gets people when you're the deal maker, you're the guy that like handles the business. Right.

You can't really get up. So the people that get up are the talent because they don't give a shit and they're out there being talent. So if your talent like you have to we have to protect our talent. We have to save them from the alcohol, the drugs, the scammers. You got to save them from that. So the business people, you can't up. If you up, you are not going to make it. Now, granted, stress, lifestyle, and being in the mix, you can get caught up.

Yeah. You know? But even with that, you're dealing with so much like power. Like how did you stay grounded even with that you're dealing with so much like power like how do you how did you stay grounded or did you i was i mean my ego has gone up and down you know i'm i'm i'm definitely sure about my abilities right like my track record and like goals that i wanted to attain i attained i wanted to be an anr at a major record label. I did that three times. I wanted to be a talent agent. I did that. I made it. I was one of 100 that got promoted when I finally made it and then I was in the

boardroom. And then I gave that up. Then I wanted to create a TV show. I created it and I also wanted to star in it and I starred in it. So I took ideas that were in my brain and I got people to invest in them. And when A&E invested in my first television show, they spent over $17 million on that show. So like I said, this is my concept. I know that my world is a show. My best friend is Randy Spelling. My other best friend is Sean Stewart, who's Rod Stewart's son. And we're all in the mix in this reality version of Entourage. And they bit and they bought it. It went all the way. And then the next thing you know, you're on a fucking billboard.

You're on a commercial. You're everywhere. But as much as you expect that to be a hit TV show, sometimes it doesn't always work that way. Because it turned out that show did well. We did a lot of episodes of it but it didn't go for a very long time right people knew it and it had a huge presence huge marketing but the next show that i was a part of which was celebrity rehab that was a monster hit and made millions and millions of dollars for my company wow so it was kind of like you got to learn one to kind of fine-tune it

to then get to the next one and the next one might not work but then the next one works and then the one that you never expect to work that's the one you might retire off of wow so you got to think about that man you got to think about all the all the things that you have in the burner you know what i mean all the all the all the all the coals that you got lit which one's going to pop first you know i got to turn this one over i got to turn that one i got to adjust that i got to fix the deal on that you don't know which one's going to work and then when it does work it can work to the next level and and i'm in the next phase of that now with the new businesses that i'm trying to do and working with influencers like yourselves because you have to adapt to the changes in the industry.

And there's huge changes going on right now. I mean, everything is based on a metric. Your entire existence as talent is based on a number, a quantified number that is on an analytic of what your views, likes, counts, everything is there. And basically a brand is gonna look at you and decide how much your value is are you 500 or 500 million what do you want to be that's the question and

every day these buyers ask me that yeah so i'll put up 10 people very diverse one will have more press than the other one will be on a tv show one will be the biggest person one will be the biggest youtube person and they look at it and they go uh does it check all the boxes okay here's x amount of dollars to do x amount of posts and you that's where the business has now come wow you know it's not based on anything else so it's kind of simplified it but it's also made it you can crush somebody's dreams in a second because one person may have talent but the other one's got the metrics exactly yeah and may have zero talent yeah but he's actually more important because his

his influence goes further than your talent yeah so they'll they're always going to go there but that's the reach yeah yeah there's actors that can't get roles but if you have 10 million followers you could probably get that role yeah i'm not even talking about actors i mean i'm talking about pop culture i'm talking about celebrity chefs hosts reality stars influencers fans girl you know what i mean like there's a metric for everybody so the game has changed and the weirdest thing is is that there's more money quicker now like the money happens so much quicker the influencer the influencers that i work with i have huge name rappers that we manage okay the influencers make five times what they make you serious yeah wow quicker and they have to do less work oh rappers make money but he's

saying like faster money in the faster money faster money deals quicker 24 hour a day business rappers there's like six different entities pulling from one dollar the music label the music label the producers the writers the engineers management well you also have to think about how much work you have to do okay because like the biggest money in being a performer is obviously streams and doing shows okay so the show money you got to actually get on a plane go to a city you know it's it's a whole process an influencer social media star you're seeing they're doing some with your phone you might pop it off boom push the link turn it up ten thousand dollars you know ten thousand like you know you got guys that are getting ten thousand ten thousand

a minute yeah yeah wow ten thousand a I mean, I'm not kidding you. I think Kylie's a million a post, right? What? I've done deals for Kylie. I mean, you can buy. You can get her. It depends on the brand. You can buy Kylie for $250,000.

You can buy her for a million. Depends on what you bought her for. It depends on if she wants to do it. That's still a lot, yeah. So do you see influencers kind of being the new celebrity, modern day celebrity? They are, but I don't want to put anyone down. I mean, it's just a different type of talent. You know what I mean?

You'll see a lot of people that are like, oh, you don't sing. You don't rap. You don't do art. You don't know how to cook. You don't know how to rest. You're just like funny and you're talking shit. But like that has become a skill and a talent. So basically your point of view is your celebrity. That

is your talent. You're outspoken. You're willing to say something. You're willing to do something, but that also comes with like a different level of like how fast people become famous. You know, when you start making millions of dollars at 15 for posting videos, by the time you're 24, your shit is tweaked. You have no comprehension of what a real dollar takes to make because you made so much money so young. I mean, I know influencers that were making millions and millions of dollars at 15 years old, and now they're 25, 26, and they have no concept of money. As much money as they make is as much money as they spend. They're not saving. They have no credit.

So it's kind of like it's sad because you got to be smart yeah so it's not really the best thing to make money at a young age you're saying well i mean no matter what i think making money is the best thing you know you're not gonna be like no don't give me the fucking money no no not us you need education behind it yeah someone managing you and teaching you along the way so that money is an object, not just the objective. And that's why you started the Hollywood Handbook to guide people. Yeah. So I have my new virtual training program that I've been working on for three years now. And I'm actually just ready to launch it this summer.

It's called the Hollywood Handbook, and it's a true insider's guide into how to make it in Hollywood, to become a rapper an actor a rock star a reality star social media star how to do your PR how to create TV shows how to meet with brands how to pitch people like me how to pitch networks basically how do you get the entry point into the entertainment business the Hollywood handbook is all of the secret sauce over my 25 years of being in the industry and all of the stars that we've been a part of hit TV shows, celebrities that came out of nowhere from, you know, the sides of the housewives and the Kardashians and Ray J and Scott and Brody Jenner and Spencer Pratt and the guys from the hills and every other show you could imagine, you know, how did we take

people like that and catapult them? And that's what you're going to learn in the Hollywood handbook. So the Hollywood handbook has really never been done with kind of an insider's view of what this world is like. And you're actually also, depending on what level you want to get to, I want to hear your pitch. I want to see what you're talking about. I want to be immersed with the audience too, because I need to hear ideas. And if I believe in them, I'll get behind them. I'll take you to the meeting. I'll set it up for you. I want to see what's really out there and people who can really follow the direction. Because if you can do that, you can become the next Kim K. You can be the next Paris. You can be the next Jake Paul, Ray J.

You can be any of these guys. And listen, if you have a lot of talent, show me the talent. Because we can set that off for you. We can get you record deals. We can put you on TV shows. We can get you brand deals. So the Hollywood Handbook is kind of like a meeting point and a mentoring business but it's also a guidebook that's awesome sounds really valuable to me yeah i mean it's the it's the insider's point of view yeah kind of give you

the answers to the steps and it's it's very pop culture so it's it's it's guided toward people that that you know so it's not bias it's for everybody who wants to get in no matter what race but it's pop culture yeah so so it's it's it's really about reality rappers influencers social media you know what i mean like sure we're gonna take on shakespeare and actors and help them but that's not really what I see people aspiring to be all right people want to be social media stars you want to be famous and make as much money as possible in the quickest way possible and if you can figure out those solutions to do it there's a very easy way to do it the other thing that we're really really

good at is brand management and PR. So we have really strategic relationships with many media companies to help get you visibility. So I'm going to teach you how to go viral, how to create content and how to basically take your content and make people care about it in the media. So it's not just being picked up like, you know, on the main page of Instagram or TikTok heating up your story. It's about really taking it to the next level and being written about in GQ and Cosmopolitan Magazine and Vogue and big places like that. You want to be on TMZ? You want to be on Daily Mail? I'll show you how to do it.

It's not hard. There's like a – every celebrity that you see out there has relationships with media come back to all the bothers like this life's about like a relationship if you think everybody from Brad Pitt and Angelina Jolie down to you know Kim K and Ray J and these everybody talks to the media but it's a strategic play having those relationships from day one got you to where you're at right now. Billion dollar brands are created like this. So anyone that's like, oh, it just happened organically.

Yeah, there's an organic process to it, but you've got to know how to like make the call. For sure. Even with paparazzi, paparazzi are planted there when you're walking out of the bowling alley, when you're walking out of the grocery store. I mean, you're speaking the truth. A lot of people want to deny that but bro they call them themselves right yeah not them but they were they knew what they were depends on who you're saying is them yeah yeah them is a lot of people but um we'll teach you how to do it we can also intro these relationships to you because everybody wants to be a part of social media now but so you

know i'm really out there talking to y'all out there you know what i mean oh yeah i want i want to see the youtubers i want to see the fans girls i want to see the rappers i want to know about all of them you know because the business has changed i mean you you you obviously see fans business. Oh, yeah. That is. I mean, that is the there are people that are richer than anyone could ever imagine. With never having to leave their house because of that platform. I've seen girls make millions a month. Yeah. We have a JV with a company called Unruly Agency. And Unruly is a wonderful company.

And my partners over there that we have a lot of clients that we share together you know they have they have a very unique way that they have monetized content and understand the algorithm and how to push it and how to market it and with what i do and my side it's been a great jv between the two of us. And we've had a lot of success. And that's a business that's like, you know, you want to see overnight money. You know, it can happen overnight, literally. And we can plug you in that direction. So if you really want to make it in that world, too, you have to know how to do every kind of business. Sure, I can make you a record deal.

I could show you how to make a TV show. I could show you how to create a fan's business. You got to know how to make a TV show. I can show you how to create a fan's business. You got to know how to do all of them. And that's where the evolution of this game is. So if you're not staying focused on the big picture of how the evolution of entertainment is happening, you're lost. And I am at the crux of that with my clients and my company. That's awesome. Why do you think a lot of celebrities fall off, especially music artists? Well, there's a statement in music that you're only as current as your latest hit. So you're only as current and credible as your latest hit. Now you could

have monster hits. Okay. And those are going to be timeless classics that no matter what you're going to make money off of, but you have to keep reinventing. You know what I mean? You've got to stay current with the sound. You've got to stay current with the culture. It's hard to be a Drake. It's hard to be a Jay-Z. Not a lot of artists last. You're talking about the 1%.

Like a top five. Consistency to me is my number one when it comes to naming top five artists because they've been around for so long. That's true. You know, we managed Too Short, who's been a part of my company for 20 years, and he's made over 23 albums. And, you know, we have a group called Mount Westmore with Snoop and Ice Cube and E-40, and we've done a huge arena tours all around the country for the last two years,

had a big hit album. But Short is someone that, like like stays timeless through all the generations but how because because he's he you know he he's got his own lane that he's in he wasn't this or he wasn't that he made enough hits and worked with enough people that those hits are so memorable and you know when you're like the pimp rapper and you know you got your own little niche yeah that stays timeless yeah yeah because i don't remember him having a bunch of hits i've i've never even how old are you 34 34 yeah where are you from l.a are you from l.a well you know shorts from l.a too i mean he's from oakland but i know he's from l.a but he grew up

in oakland okay so yeah i mean i know his lingo but i never you already hear oh bro yeah you know he he had he had i'm i'm i'm shocked to hear you said but they're you know i know record after record yeah he's he's definitely a pioneer but i just as far as from like him being um you know i mean he's not main mainstream i seriously yeah yeah yeah he's not like ice cube or yeah well i mean he is someone who has stayed in the game a long time. A very long time. And with the right team, you continue to stay in the game. And with the right music, you can stay in the game forever.

And if you have an archive of hits, you can always perform. Gotcha. You know? We do three shows a week every week for the last 20 years. Wow. That's insane. Too short. Yeah. That's consistency right there. know not a lot we just did he just did every arena there is with snoop and cube and e40 with mount westmore it's insane so what were your favorite shows to make i know you did one

with wires only yes so uh you know my boy rd wires only the one and only the true plug you know the planes the jets the boats the guy um you know i wanted to learn the car game when i got into cars pretty heavy about 10 years ago and i was really buying a lot of cars and trading a lot of cars and customizing a lot of and he wanted to get in the tv game were you getting scott his cars uh he got scott a couple cars yeah i mean scott already already got cars for you already he's gotten cars for everybody you know straight up um you know he uh he want to learn how to get a tv and i want to learn how to buy cars at dealer prices so we kind of like exchanged the secrets yeah and it's it's all played out very well yeah and um you know he's his show million dollar wheels you know they they they had

a big run on on uh tnt a big run on discovery plus and you know who who else can you watch buy sell and trade those kind of interesting cars? But that didn't happen overnight. RD Show took five years to make. Wow. So you think it's like, oh, let's make it happen right now. You know, it's a lot going on. It's a lot. Five years?

Five years. Yeah. So you were the only white person working at Death Row Records. White person? White person. I was not the only white person working there. That's very racist. No, I'm just kidding.

No, I was the white boy. It's a big difference. A white person and a white boy. Okay, so this is a weird thing. So I'm working at Interscope Records. So In inner scope is this big conglomerate mega record label and then they own they co-own death row and do the distribution does dr dray own inner scope no okay no jimmy ivy jimmy ivy okay gotcha okay so so we're all in the same building all right so death row is kind of like its own area and then inner scope but everything is all connected now i all in the same building. All right. So Death Row is kind of like its own area and then Interscope.

But everything is all connected. Now, I worked in the rap department of Interscope. So all we did was deal with Death Row products. And basically, I'd gotten into USC. I was going to go study in the entertainment business program, which I got my degree in. And I didn't want to stop working. And I was kind of like i i talked to jimmy and i talked to the guys at interscope and they were like either why don't

we why don't you stay on full time jimmy i mean with usc right he has a school there he has a school he didn't go there yeah um and come either either stay on full time or come back you can't do both and suge said to me well you can do both so i'm 18 years old i'm making 60 000 a year which was a lot in 1996 and he goes you're going to come and you go to school three days a week and you're going to work at death row the rest of the time wow and that's what i did and it was wild so i was at usc i had the death row chain i had you know the cars with the rims and all the crazy and i was like this white jewish kid from beverly hills who works at death row records you were the guy and people could not people were dumbfounded yeah because i got because i got to do stuff that people don't get to do. Right. You know, I got to.

So when Suge was in jail, basically, Michelle had all the checks. So like, like, no, she had the stamp to the check. So how it would work is Suge would call in from jail and from prison, rather. And he would say, OK, well, we got to do we got to pay everybody. We got to pay artists, got to pay everybody. And we'd have a handful of checks the account were printed up i would take the checks and then i would go to michelle's house and then michelle would have the check should we call michelle she come out with the stamp and she would do boom boom boom boom boom so like the payroll at death row

like i was the guy that had to execute the payroll wow you know what i mean like i i got to do stuff that nobody got to i i was a guy who would move all the reels like the original reels of tupac's voice for all the albums they couldn't trust a lot of people to carry that stuff and i was somebody that wasn't a target so like well have him do it have him do it he can go to the bank he can he can move around in a different way because you know it was a a race thing obviously it was but it was safety they trusted you people think it was like a very like it was like a gang operate it was a real functioning mega record label but it was a little gangster you know they signed gangsters that's what it was so yeah it wasn't so much that they signed gangsters it just that was the nature of the business and the nature of the world but it wasn't that crazy looking back

on it now it was crazy yes it's crazy but i didn't think about it like that i was just so happy to be a part of it to have the plaques and to have the clothes and the chain and to be doing something that like wow like i look up to these artists that was history though yeah yeah you were part of like history being in that atmosphere with you know with those pioneers i mean suge had a stable yeah i mean music now today is a mere reflection of what death row records was like yeah a lot of these cats is mimicking that lifestyle of course bro every everything is it's just in a different form but bro that's snoop that's dr dre that's not well you also have to remember him jack harlow wouldn't exist if it wasn't for him right you have to remember too is that this is in the age of physical albums physical

albums had much more value than streams of digital music that was an actual thing that had to be manufactured so the money and the margins were much bigger so if you sold 10 million records that was huge at 1795 a record yeah I want you to think about those numbers. And they had to go buy the records. They had to go buy the records. So the money is three times what the money was in. So to be an independent African American man that owned his own masters, had his own record label, had the biggest artists in the world, he made hundreds and hundreds and hundreds of millions of dollars

suge did yeah hundreds brother wow but the toys and like when he went in you know because i was like trying to like really grasp what had happened because my transition out of inner scope into death row really happened right after pock died and um pock was shot on my birthday my 18th birthday and um and then he died like five days you know it was very shocking because that whole summer was just the summer of you know all eyes on me and just you know being a part of that culture and you know I got to Shug went to jail very quickly after that. And then I was like really in the trenches at death row. So to see all of the accumulation of the Ferraris and the Rolls Royces and, you know, refrigerators full of Cristal and jewelry and houses and private planes and helicopters and boats and everything that they accumulated with that much money at that time, it was absolutely remarkable.

You were in a prime wall i used to go to his like you know to his warehouse where he had all while he's in there and they would have like 20 refrigerators stacked in 75 bottles high of cold crystal wow just sitting there like waiting it's like why'd you buy that much i also had to do weird stuff like Shug had a piranha tank in his office I would have to feed the piranhas what'd you feed it? goldfish every week you have to go to the pet store

get a bunch of goldfish go in there feed that and you know you're in there and it's like you know you got you got a movement of culture and then all of a sudden like you're in there doing the mundane stuff that's just so crazy and bizarre

so it's it was they respected you though like they they never like but you know absolutely not my nickname at death row i had a name that's what they knew me as and i was known as super day super day super dave super day super dave was this like cartoon guy uh that like people knew in the 80s like you guys probably don't know who that is but i'm sure this guy does anyway so like it was a spin on that it was like the urban play on that for the white jewish boy from beverly hills they called him super dave so all like my death row clothes and shit had you know you ever had their nickname well so that's what they called me why do you think death row failed because at its peak it's worth over a billion dollars death row didn't fail no nobody failed people

got caught up and parts of the businesses all failed death row as a whole is a groundbreaking company that's a body Snoop Dogg has has the rights to it you know what I mean like there's people there's I don't want to speak out of turn but like it's hard to say who really owns what and what and how you're gonna exploit licenses and exploit masters and whatever those things are but there is a business there so i wouldn't call it a failure it was just mismanaged it was a trend-setting business people should follow what not to do but also take the inspiration from this story

and be able to take it to the next level. Obviously, like the Drake's of the world and the cash monies and a lot of these other businesses that have small from that, it wouldn't have happened without the story of death row and to own your own masters. Like that's it. What do people want today? They want to own their masters. What do we want to own? We want to own our IP. We want to own our TV shows. We want to own our companies. We don't want to just be a person that got paid to do a post. You want to own the company, own the distribution. So like at that time, that was semi unheard of for somebody like that to get that from a place like Interscope. Right. So you got to follow in those footsteps. You know,

this goes back to the Hollywood Handbook because the Hollywood Handbook is really like an insider's inside look into what to do and what not to do and what might be the easiest way to success and to make money and to monetize your situation because I've already lived through the highs and lows of it. I'm gonna teach you what to do and what not to do. And what do you think about modern day music labels?

Because you see a lot of controversy on social media about artists not really liking them as much. Well, I mean, it depends on what level artist you are and it depends on who your team is and what your deal looks like, you know? Mm-hmm. Excuse me. A 360 deal, which is like, a record company is kind of like your manager

and your record company. Terrible deal. That's not a good deal because you don't, like your show money is what you, if you make, let's say you made two hits, okay? You're a two hit wonder, all right? You made your two hits. You should be able to live off of those two hits okay you're a two-hit wonder all right you made your two hits you should be able to live off of those two hits for a good amount of time maybe five to ten years doing shows where you

could make twenty thirty forty thousand dollars a week if you had the right level radio song and you had the right promo and your two songs could last that long. So it all depends on what caliber of artists are you? Are you a career artist? Are you, are you future or are you rich? The kid, like, who are you? You know what I mean? Are you little pump? Are you am well, who are, you know, who are you? Yeah. You know, are you too short? Like too short survived all these years. E40 survived all these years. You know what I mean? So you got to think about how many years can you stay relevant in the game and did you have the right deal and at this point like i said you got your movie studio and your your social media blaster in your hand where you can cut content

and show the world you have the same thing with music same quality of of function yeah wow i've learned a lot david it's been an honor having you here thank you man any closing thoughts uh no man i i appreciate you guys having me and i'm excited to uh to be here and you know whatever i can do to ever help you help you i'm happy to do so go get the hollywood handbook and uh you know check us out we'll uh put an affiliate link in the description that would be amazing sir wayne make sure you guys follow me on instagram at the creator sean kelly here digital social hour thanks for tuning in see you guys next time