David Cash Podcast Transcript
David Cash joins host Brian Thomas on The Digital Executive Podcast.
Brian Thomas: Welcome to The Digital Executive. Today’s guest is David Cash. Called the leading force bringing Web3 to market by Vogue, and described by Forbes as shaping the future of technology and culture, David Cash has spent the past decade translating the language of innovation into something the world we can feel.
SHOWstudio credits him with a key figure in defining an editorial voice of the Web3 space. Vogue once quipped, “It’s David Cash’s metaverse. We’re all just living in it.” He authored the first master’s thesis on NFTs in 2020, not as a speculation, but as a signal. Soon after, he founded CASH Labs, an award-winning strategic communications agency that has since led more than 300 campaigns across technology, fashion, entertainment, and finance.
From orchestrating the first metaverse fashion week to facilitating over 100 million in on-chain asset sales, CASH Labs has become a quiet architecture behind some of Web3’s most visible moments. Well, good afternoon, David. Welcome to the show.
David Cash: Thanks so much for having me, Brian. Appreciate it.
Brian Thomas: Absolutely, my friend.
I appreciate it. Making the time. You’re hailing out of Toronto, Ontario, Canada today. I’m in Kansas City, so I appreciate just the hour jump in time zones. And David, if you don’t mind, I’m jumping into your first question. Your path is fascinating and unlikely. 12 years as a child actor, then years in commercial production working with brands like Netflix, OVO, and then when the pandemic halted entertainment almost completely, you went back to school in Florence and wrote the first master’s thesis on NFTs, which went viral and turned you overnight into an in-demand consultant.
Walk us through that pivot. How did a storyteller from the entertainment world become the person Vogue calls the leading force behind Web3 to market?
David Cash: Yeah, I mean, it’s a, it’s a, it’s an interesting one. I always like to preface, current career trajectory with, you know, the fact that I was always interested in new media formats and new technology.
I mean, I grew up in the, in the late ’90s, and I was making movies and making films since I was a little kid. I had films in a film festival since I was in the fourth grade. And so always excited about media and creating content and trying to figure out what was possible. Previous career, I was also one of the early ones to do work within the influencer space.
I did some early VR projects, AR projects. And so, yeah, I, I never really considered kind of emerging tech as my focus, but that’s mainly because emerging tech for I think a majority of my life and career was just tech , you know? It was film cameras and, increasing production quality and increasing resolution.
And then, things were going quite well in terms of my, I guess, previous career. Finally getting bigger and bigger jobs traveling around the States doing things like New York Fashion Week working with kind of larger and larger influencer conventions. And then, like you mentioned 90 to 95% of my work was on set or physical or in person, so pandemic very much killed that.
You know, I remember just being on a plane going back from a conference and watching my schedule clear you know, bookings cancel or postpone for the coming year. And and yeah, you know, I had a few months of, of of questioning, you know, what was gonna come next. I directed a commercial during the pandemic, and that was an awful experience, we had like 100-person crew, and we could only bring five people on set at a time, so a half-day shoot turned into two weeks. And then I did a, a, a series for the World Health Organization, which sounds exciting, but it was without being derogatory, you know, pretty dry in terms of the work that I was doing and, you know, not as exciting as the stuff I was doing before.
So I ended up looking for programs to go back to school. And it was a weird sequence of events, but I found a program in Italy at this school called Polimoda which was in collaboration with Vogue Italia, and it was a super small program. It was about 12 people. And I thought, “Okay, you know what?
I’ll apply. I’ll see if I get in. In the off chance that I get in, I’ll see if I can move to Italy during the pandemic. Let me see what that’s about.” And so things worked out well in that respect and managed to get over there. My partner ended up also getting a working visa, and so we, we moved to Italy in the middle of the pandemic.
And without giving you the full story, ’cause I can go into a, a fair amount of detail program was very interesting. Lots of great professors and people brought in, but I was already working professionally as a director, art director, so I wasn’t getting a lot out of the program ’cause it was, it was very training-oriented and getting people in the door for the first time within the world of art direction.
And so, I had an amazing professor there. Her name was Silvia Tolaro, is Silvia Tolaro. And she is a, very much an academic. Her, she taught a class called Sociology of the Imaginary. She was into, you know, mix intersection of, like, philosophy and technology and, and fashion and science and art, and I think her sequence of classes, plus the fact that I was sitting inside all the time because of the pandemic, we kept going in and out of lockdown I had both a great exposure to the very early days of NFTs.
I remember I was in a clubhouse room of all places, and I heard a bunch of people from various fashion brands talking about that this technology, the NFTs, I didn’t really understand what they were at the time, this was 2020 that these could be used within the fashion industry to, eliminate redundancies and expedite processes and, you know, that a, that a clothing item could have a whole digital certificate side of it.
And at first, I was excited at, about this tech from a media point of view. Be like, “Oh, okay, amazing.” Like, the fashion films and photography and content and kinda storytelling that I was doing for some of these fashion brands could now be ephemeralized or integrated directly into products. You know, you could tap a Q, you know, you could tap an NFC tag on a garment, and there could be a digital certificate of that garment, and a whole bunch of information and content could live within that digital, integration, and I was excited about that idea, and then that really led me down the deep, deep, deep rabbit hole that is crypto Web3 NFTs.
I realized that I had bought some Bitcoin when I was a kid. I, I knew I did it, but I didn’t really remember what that process was. And I found some Bitcoin in an old wallet, and I used some of that to transfer into Ethereum and started messing around with NFTs in the very, very early days. And yeah, one thing led to another and ended up really falling in love with the potential of this technology and, and what I could do with it, and I was, minting NFTs on my own and buying NFTs and re-really diving into the community.
There was a clubhouse room called NFTs.tips which unfortunately no longer around, but I was one of the original admins of that group and helped grow that group to over fifty thousand people. Got simultaneously, you know, really involved on the academia side doing research. Silvia Tularo helped me petition the school to make my thesis specifically about NFTs, which was a, which was a bit of an ask for, a kind of hist-historic fashion institution, especially in collaboration with Vogue.
But it went really well. And so it went from, me researching and asking questions online about all the stuff that I was looking into, to all of a sudden people were asking me questions, and I was answering questions, and I suddenly became an authority on the matter ’cause, you know, not a lot of people were doing really in-depth academic research at the time.
And so, all of that resulted in me releasing this thesis as a PDF document on the internet. I had to do it in collaboration with some of my classmates, so that it was this, like, art directed document. And I released it. I got a thirty as a grade, which it sounds like gibberish in, in North America, but a thirty is the highest possible grade that you can achieve in Italy, and they give that grade very, very sparingly.
Like, everybody gives me a different stat, but apparently, like, once every couple years or once every decade, in the country, somebody will get a thirty. And so, Vogue Italia and Polimoda gave me a thirty on this on this thesis, and then I posted it on the internet, just as a PDF link without thinking about it.
And at first it was hundreds of thousands of people, and then millions of people read this document and at one period of time, you know, kind of at the initial height of the first hype cycle, twenty twenty-one I was getting like ten thousand emails a week from people who were reading this and, and, reaching out to me saying, “Okay, how do we integrate NFTs into our company?
How do we create content about NFTs?” Like, “Let’s do this. Can you help us?” And that’s really how all this started. And you know, I, I call that era of this drinking from the fire hose, but that’s really the impetus that, that got me to start Cash Labs and moved away from being kind of like a sole proprietor studio of just, like, me working as a hired gun to growing a team and a client, a client book and yeah, starting to really look at this as a business.
And really that all started with me creating content about NFTs. So it was very I guess, organic from the first kind of point of intersection of me writing this thesis to, then I was interviewing artists and writing articles and, and editing and launching publications specifically about Web3 and NFTs.
So that’s, that’s the, the very early part of the story, not to go too long-winded into it.
Brian Thomas: Thank you. Appreciate that. Again, the backstory’s always great here on the podcast. But you’re always curious, again, from childhood on interested in media, emerging technology, some work in virtual reality, and of course, your career pivot was decided by the pandemic fortunately or unfortunately, right?
I think in your case, fortunately.
David Cash: In the end; it all works out.
Brian Thomas: Yeah. And, going to school in Italy, you learned about blockchain, NFTs, how it could be used in the fashion industry, integrated with- into individual clothing, of course. I love NFTs. And then of course, the big part, part of the story is after your thesis the rest is history.
The, the, the score obviously was amazing, but the fact that you had millions of people reading your thesis is just amazing, so thank you. David, a reoccurring theme in your work is that a user’s first experience in Web3 is critical, and you’ve talked about onboarding the next billion people without alienating them.
Web3 has a reputation for being confusing and intimidating to newcomers. What have you learned about meeting people where they are, and where does the industry still get onboarding badly wrong?
David Cash: Yeah, that’s a great question. I think the, the whole idea of onboarding became a little bit of a misnomer because, you know, in the earlier days of the space very quickly from the time that I, started in the space and started working with artists the, the, the popularity of the tech and, and, you know, I guess the hype cycle really picked up.
And so all of a sudden I was going from, working with cool artists to working with, like, major celebrities and brands. This was very quick, you know, within a, within a span of, like, three to six months. So I remember actually I was doing a project the first NFT project for French Montana like the rapper, and I, I viscerally remember sitting one-on-one with, probably hundreds of people like his cousin, and onboarding them, like literally just teaching them step by step what they had to do to get up and running.
And I think this was a, you know, it was an arduous but a really good experience for me to have in these earlier days because, as much as I would like to think even to this day that, you know, all of this is quite accessible and it’s doable, especially in twenty twenty-one, especially depending on where you were in the world, because regulations were still just starting in terms of, you know, how exchanges were regulated, how cryptocurrencies were regulated, all this jazz.
It was quite difficult for people to, to get up and running especially initially, ’cause, you know, they’d have to figure out what process would work for them in their country at that specific time. I had my process, but not everybody had access to, Binance or Crypto.com or, some of these specific exchanges just based on geographical limitations.
And so yeah, the, the early days of, quote-unquote, “onboarding” was quite literal. You know, I sat there with French’s cousin and talked to him for probably, like, forty-five minutes, getting him up and running and getting him on MetaMask and all this stuff. I remember a funny conversation where somebody just kept asking me, you know, “Where’s the wallet?
Sorry where’s the folder? Where’s the folder?” And this went on for, like, you know, ten or fifteen minutes until I realized the folder he was talking about was a wallet. And so, you know, there was just a lot of trials and tribulations, I think, in the earlier days. All of that being said, I think the, the cool part, you know, you went, you mentioned my early kind of, I guess, goal or aspiration was to onboard the next billion people into, into Web3 and NFTs.
I feel like that’s been achieved at this point, just in a very nonlinear fashion. If you look at where the technology has progressed today, and this is actually something I was preaching right from the beginning, even though I did really, I, I did really want and I do still really want people to gain financial literacy and be able to kind of herald all the original the benefits of, of Web3 and NFTs that, you know, you can have self-efficacy and self-sovereignty, and you can do this all on your own.
But a lot of the tech nowadays, especially in the ways that it’s manifested at scale really lives in the back end and completely outside of the realm of the user experience. So if you look at the most successful integrations of, of Web3 tech, and, and I’ve had the pleasure of working with some of these people for instance, the Aura Blockchain Consortium, which is the European consortium of, of fashion brands and, and luxury brands that have adopted digital product passports and digital certification of goods across the world, but definitely throughout Europe.
That is probably one of the biggest– Probably, that is one of the biggest use cases of NFT tech that’s live in the world today. And if you look at the way that’s manifested, it’s really interesting because that’s very true to the original kind of thought process that I had around NFTs that, you know, these can live as certificates of authenticity on the blockchain for products.
And now, you know, with the legislation that’s being passed in Europe, by mid-next year all products that are put out through fashion brands that are based out of Europe are going to be obligated to integrate a digital product passport or to aud– to integrate a, an on-chain certificate of authenticity into those garments.
And so really we’re looking at first millions and then hundreds of millions and eventually billions of products which will be tokenized on the blockchain as certificates of authenticity, but also as means of track and trace to prove you know, sustainability, to prove product life cycle, to show where something was you know, where the cotton was milled, where, the manufacturing had taken place.
And a lot of these use cases are I, I don’t wanna say traditional, but they’re solving quite literal and traditional problems. You know, it’s not a sensational use of the technology. So, now we’re seeing the same thing with the automotive industry. We’re seeing the same thing within the beauty industry.
And just all these different places where, you know, something like a QR code or a you know, a link to a digital experience. Any-anywhere where that sort of interaction lives or lived, eventually all of those intersections are going to be on chain. And then at the same time, you know, not to go on– too down, too deep of a rabbit hole the other big sector that we’re seeing really scale right now is the world of real-world assets or RWAs, which is actually a term I don’t really like, because, we’re, we’re calling them NFTs as, as in digital assets, and then we’re calling them RWAs, as in tokenized real-world assets.
Just feels like a lot of acronyms. But all of that being said, most digital I guess manifestations of- wealth of of, of investment tooling, of property of stocks, of bonds, of financial instruments. All of these aspects are also going on chain at scale. And you see BlackRock, Fidelity the US government Chase Citi JP Morgan.
You see these massive financial intu- institutions now really investing in the tokenization of of stocks, bonds, treasuries financial assets. So now you’re really seeing a whole range of asset classes being tokenized and being stored and protected on chain. And that’s really the biggest manifestation of all of this that you’re seeing right now.
And, and I really do believe that, billions of people, everybody in the world, to some extent over the course of the next few years, is going to have some kind of an interface with on-chain assets. The cool thing is not all of them are gonna know that that’s what’s happening, and that’s okay.
Because really it’s technology at the end of the day, and it’s not– it doesn’t have to be the sensational, hype machine where, you know, you have to buy a, a, you know, a profile picture of a monkey in order to be onboarded into the ecosystem. Now it’s really, what is the tech- what does this technology do and is it useful for what you want to achieve?
Brian Thomas: Thank you. I really appreciate that. And again, just to highlight some things real quick here. You stated this idea of onboarding as kind of a misnomer, and you walked through your first NFT project, you onboard your client and saw that the process was kinda convoluted there. And of course Web3 has come a long way since then, and you talked a lot through that, of course.
But what r- I really took away here is the certificates of authenticity in the fashion industry. You talked about ways that we can track every piece of garment, you know, where it was sourced, w- is it, was it produced sustainably, et cetera. I think that’s awesome, and that’s why I really embrace this Web3 space.
I mean, there’s a lot to unpack there, of course. David, if you could briefly share, as a lead curator of the first Metaverse Fashion Week, you pioneered what you called Metacommerce, letting people buy real-life goods in the metaverse, and helped brands like Estée Lauder create experiences beyond just an NFT drop.
You’ve said the first question legacy brands isn’t– ask isn’t about NFTs, it’s how to take part in the metaverse. How do you guide a traditional brand past the hype towards something that actually creates value?
David Cash: Also a great question. So, so this also illustrates, I think, the, the trajectory of how things have moved really, really quickly.
You know, I talk a lot about the idea of hypermodernity, hypermodernity. I’m writing a book on that matter right now, and, and really, you know, we see technology developing at a, at a really rapid rate that becomes difficult for people, businesses, all of us to, to comprehend. And so, you know, this all started with me, like through Cash Lab specifically with the NFT world.
But even in my master’s thesis, I was writing about applications of technology. You know, we talked about certificates of authenticity and, and physical products. But another big use case that I was talking about right from the beginning is how digital products and digital assets show up within virtual context as well.
So right from the beginning, I was writing about Decentraland, I was writing about metaverse solutions, and just really how digital assets can show up in, in, in digital space as well as physical space. And so I was super lucky, you know, early on, I, I was a, a huge, evangelist of, of Decentraland and other virtual worlds that had on-chain integrations.
And I, I was super lucky to get access to a lot of these platforms and the people who work there and get to actually start doing activations and working with them. So, first through actually the people at nfts.tips, I, I managed– I, I got the opportunity to curate one of the, I think the second ever Decentraland Art Week.
And so I was bringing about a bunch of the artists and people that I was working with and exhibiting them in virtual space. And, and Decentraland actually gave me and helped me build a gallery because I was doing so much of this sort-sort of work. And they gave it to me for free, which was awesome.
And so I started curating and creating programming in, in the metaverse. And at the same time, you know, I was being reached out to by a lot of these brands, celebrities organizations who were interested in, you know, emerging tech, but specifically NFTs and virtual worlds, and trying to figure out how these things work for their brand.
You know, I was getting a ton of inbound, especially in the early days. And, you know, I don’t wanna toot my own horn, but I feel like the, the reason for this was that my thesis was one of the first documents that tried or at least re-really made an effort to make all of this make sense to not regular people, but to people who were interested in this technology that weren’t necessarily technical.
‘Cause this was very much a non-technical document. It was thinking about it from a philosophical point of view, from an anthropological or sociolo-sociological point of view, from a, from a very human point of view, in terms of like, what is this and how can this benefit us? And so a lot of the people who reached out to me initially were people from, arts and cultural institutions, you know, whether it’s art galleries, artists or fashion brands, Who finally understood that this, this technology could actually be applicable to the work that they’re doing, which was, a blessing and, and also a very cool kind of, you know, series of conversations to be had.
So yeah, the, the Metaverse Fashion Week really came about due to both the fact that I was working with a bunch of these fashion brands who were interested in, in getting onboarded into the space, and I was working with a bunch of these technology companies Decentraland specifically in, in quite an interesting way.
You know, earlier, right before we launched Metaverse Fashion Week, I also helped pop up the first Metaverse Music Week, and I brought in people like Deadmau5 and Paris Hilton to do live sets in the Metaverse for the first time. And I remember Deadmau5 being a very interesting use case. We had over fourteen thousand people show up to a virtual concert of his that was, quite quickly planned and claim, you know, digital certificates, claim POAPs, proof of attendance protocol tokens to show that they were there and, you know, it was a really cool activation, and people talked about it really highly.
And so a little bit after that, I was doing an activation in Miami during Art Basel and I had a breakfast with Sam Hamilton, who was the creative director of Decentraland, and, you know, one thing led to another, and he basically asked me, “David, what would, what would a fashion event look like in the Metaverse?”
And started spitballing, started coming up with ideas. You know, I had a background in the fashion industry. I’d done several fashion weeks. I technically went to fashion school. I had a lot of intersection with fashion brands, and so started spitballing, and one thing led to another, and next thing you know, we had a concept for a fashion week in Decentraland and what that looked like.
And, fast-forward just a few months after that. That was December of twenty twenty-one. By March of twenty twenty-two, we had a fully blown program set up. We had participation from Dolce & Gabbana, Adidas Etro, Elie Saab, Estée Lauder Group, some of the biggest brands in the world who were figuring out how to activate in virtual space.
And really a lot of these brands, especially in the early days, they were looking at this almost like expanding to another country or another city. This is them looking at and trying to take advantage of a new market which did persist and still persists to today. You know, you see these brands coming up with strategies of how to show up in Roblox or how to show up in Zepeto or how to show up within Snapchat filters.
You know, all these other kind of new contexts or new worlds that these brands can build within. But the Metaverse, conceptually, especially around this time, this was right before Zuckerberg and, and Facebook kinda switched over to, to being Meta. This was a really kind of hype or, or I guess relevant time within the hype cycle of, of emerging tech and within the worlds of NFTs and, and the Metaverse it, it was the right time for these brands to kind of get on board.
And so yeah, the first Metaverse Fashion Week was a, was a huge experiment, but it was definitely a success. We generated over 10 billion media impressions. We were featured in hundreds of the largest publications in the world. Next thing I knew I was, sitting on a Zoom call with Vanessa Friedman, you know, the, the lead fashion reporter at The New York Times.
And it was quite surreal, you know? It was very much, you know, one day I was just sitting in my bedroom putting together like a CAD drawing of a, of a building, and then the next day, I’m talking to Vogue and, hosting Vogue on the rooftop of my gallery for panel talks with, you know, some of my heroes.
So it was, it was a very rapid process, but it evolved fairly nicely and and yeah, now it’s, now it’s kinda part of fashion history in the grand scheme of things. And, and it continued afterwards, into the next few years, even beyond the, that initial event.
Brian Thomas: Awesome. Thank you. Really appreciate that.
Because you’ve really embraced this Web3 space, NFTs, the Metaverse you talked about Decentraland, of course you did… Just a little thing I’d like to highlight, you stated there that your thesis really was the genesis for all this work and what you’re doing and all the interest in, in the all industries, but generally the, the fashion players that have shown a big interest here, of course.
I like the f- the fact that you were, did live sets in the Metaverse with Deadmau5. Amazing music, by the way. I, I like a lot of his music. And the unbelievable exposure during the first Metaverse Fashion Week really just exploded, and I think, I think that’s really just again shows the, the, the amount of passion you have in this particular space, so thank you.
And David, the last question of the day, if you could briefly share, you work right at the fault line between technology and taste, and you’ve written and lectured globally on where XR, the Metaverse, AI, and Web3 are all heading. As these technologies converge, where do you see the intersection of culture and code going over the next five, maybe 10 years, and what will separate the brands and creators who genuinely shape that future from those just chasing the next trend?
David Cash: This is an amazing question and, and I very much appreciate it as well. Yeah, I think, if we’re looking at where we’ve gone from then to today, I mean, things move hyper rapidly. I’m using the word hyper a lot in, in my writing these days just because it is kind of an illustrator of how different things are, are becoming very, very quickly.
Three years ago I would’ve said that I’m an NFT consultant. Then I would say I’m an innovation agency and I’m an, I’m an innovation consultant. You know, in 2022, 2023, I was winning awards as an inno- innovation agency ’cause, you know, things quickly developed from focusing on NFTs to, like I mentioned, being more broad- broadly focused on the metaverse, the emerging technology, you know, integrating into virtual worlds.
That really progressed, you know, back into my, one of my original passions of AR, XR, VR integrations and, kind of as we were expanding the definition of the metaverse from, on chain gaming worlds to gaming in general, to just virtual spaces that people are spending time. I mean, you know, that, that definition broadened into all of these spaces, to, to my from, to my definition today, you know, even social media worlds like Instagram Snapchat, et cetera, especially ones with virtual or augmented reality integrations.
You know, these are still very much part of the metaverse because they’re virtual spaces where we’re spending time. And so through, through those sets of definitions, you know, the ways that we’ve worked with brands have progressed over the years and I think what I learned about myself and my team and the work that we do with these various brands and, and artists and, and organizations is really that I became quite good at making- Complex concepts, mostly technological concepts, make sense to people whether those people are consumers, brands, media, et cetera.
You know, I was able to take abstract ideas and make them comprehensible to humans. And so that’s really why I think of the work that I do kind of sitting at this fault line between culture and tech or culture and emerging technology because I try to figure out ways to make, really fundamentally culture-shifting ideas, technology that has the potential to transform businesses, people’s lives, et cetera into tangible experiences or tangible activations or tangible campaigns.
And so yeah, the work that I’ve done and that my team has done has really progressed over the past few years. You know, we went from NFT projects with artists to virtual activations like Metaverse Fashion Week to, you know, after getting a bunch of attention for, for these types of activations, then it really became much more tradition- much more traditional, but always very cutting edge projects, but with larger and larger companies.
You know, next thing we knew, we were working with Farfetch and Amazon and Verizon and the NBA and, you know, some of these larger and larger organizations. And with them, we’re really looking at open innovation or their innovation strategy or their digital strategy for the next one, two, three, five years.
And with technology developing so rapidly, that is constantly changing. AI has been part of the conversation since the ’90s, but most of these brands weren’t really thinking about their AI strategy until one to two years ago, which sounds crazy now when we consider how pervasive AI is in our, our day-to-day lives.
But that is really a reality. Brands were really talking about NFTs more than they were talking about AI even two years ago in terms of what that would mean for their brand and their consumers, et cetera. And, and I find that super, super interesting just because it, it’s illustrative of the rate of change of, of these industries.
And so yeah, now these days, I’m still very much focused on trying to figure out how to make the most impact on the highest level. I think 90% of the work that I do today, I like to say, kind of falls within one of two buckets Either we’re doing activations to generate attention, you know, after Metaverse Fashion Week and some of these larger celebrity campaigns my team and I have generated over 19 billion quantifiable media impressions for our clients just from doing all these sorts of, exciting and different cultural moments and activations that, that can be exciting for the media and also for consumers.
And then on the flip side, you know, we’ve found really creative ways to bridge the gap between technology companies and brands that would be using those technologies. So a lot of the time it really is kind of a theatrical version of B2B sales where we’re helping institutions and organizations like fashion brands and art galleries and, and traditional organizations like Amazons and Farfetch’s.
We’re helping them internally validate using technologies within the organization for their consumers. And then on the flip side, we’re acting as the evangelists or the publicists or the marketers of these tech products helping them actually bring their technologies to market in ways that are real and relevant and actually applicable to people.
So trying to figure out tho- that intersection between the technologists and the people using that technology, I think has really become the, the niche that I’ve, you know, kind of carved out for myself, and that’s where we– I believe that we have a lot of power continuing into the future because even if NFTs have now very much moved into the background, new technology is not going anywhere, and I think we’re in a, we’re in an ecosystem of, again, hyper modernity, where growth is not slowing down for anybody and the rapidity of change is not changing for anybody.
So this is the reality that we, we live in now, and there’s not really any going back. We’re, we’re moving full-fledged into the future and very much hope to continue to be a part of that.
Brian Thomas: Awesome. Thank you again. Appreciate that. Just highlight some things here, David. It’s interesting to see, again, this you said hyper modernity.
I, I really like that term there. But three years ago, you were really an innovation consultant, as you said, but things just kind of really exploded. The work has progressed and expanded into more emerging tech, AR, VR, XR, AI, Web3, we could go on and on. But a couple things to highlight here.
Nineteen billion media impressions for your clients. That is something to really just– I’m amazed. That, that’s awesome. I thought, you know, doing over a hundred and twenty million impressions a year on my platform was good, but wow, that’s awesome. No,
David Cash: look, a hundred and twenty million impressions is incredible.
Do not let me minimize that in any way, shape, or form.
Brian Thomas: No, but that’s, that’s awesome. I appreciate that. Really do. A- and, and thank you. And of course, you sit at the intersection of culture and emerging tech. So David, it was such a pleasure having you on today, and I look forward to speaking w- with you real soon.
David Cash: Amazing. Thank you so much for having me, Brian, and appreciate everybody tuning in. If you wanna find out more about me, you can check me out online, davidcash.ca cashlabs.io, or @davidcash888 on any and all socials.
Brian Thomas: Bye for now.
David Cash Podcast Transcript. Listen to the audio on the guest’s Podcast Page.
