December 3, 2024 • 38 mins
On this episode of Butternomics, Brandon Butler sits down with Corey “Mr. Hanky” Denard, the hitmaking producer behind anthems like “Living My Best Life” and “Wobble.” They dive into the creative process behind turning everyday moments into chart-topping songs, how to build meaningful connections in the music industry, and the balance between artistry and business. Mr. Hanky shares insights on leveraging culture, creating opportunities, and staying relevant in a competitive industry. Whether you’re an aspiring producer, a creative entrepreneur, or just love good music, this episode is packed with actionable advice and inspiration.
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Episode Transcript
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Speaker 1 (00:00):
It's an amazing feeling. Like you're traveling somewhere and you
turn on the radio and then one of your songs plays,
or you go to a club or the DJ plays it,
and you didn't go up there asking to play your song.
They playing and you're like, damn, that's crazy, you know
what I'm saying. Like I was in my room by myself,
in my drawings on my computer doing this song. Or
(00:21):
I was just in the studio by myself starting this
one idea and it went to the world and they
loved it. Yeah, so that never gets old.
Speaker 2 (00:32):
Here, everybody, Welcome to another episode of butter Nomics. I'm
your host, Brandon Butler, found in CEO of butter atl
And Today we have a special guest because anytime you
listen to this podcast, anytime this podcast starts playing, there's
a beat that comes on and I'm gonna tell you
right now, that's a mister Hanky beat. Hey, and so
we got mister Hanky in the building. Mister Heck, how
you doing, bro?
Speaker 1 (00:52):
I doing good? Man. It's always good to be here
with you. Man. From the early days of Button Man.
Look at you, man. I'm proud man. This is amazing
You know what I mean?
Speaker 3 (01:00):
Man, you ate one day one? Man, I could definitely.
Speaker 2 (01:01):
Say day one and this thing. Man for real, you
know what I'm saying. You get connected with people's you
know what I'm saying. All you start building on that
next thing. You know, they making beats for you. You know,
when had the podcast coming out, I was, I hit
them up. I said, man, look I need something special,
and he just said, send me some ideas of what
you like and I got you.
Speaker 1 (01:19):
That's all we do is real producers. Man. We cater
around the actual you know, the client. You know, I
don't just send you. Yeah, I got into hard drive.
I'll be like, Okay, some podcast, it's branding, it's butter,
it's gotta be atl but it's still gotta be fun.
We can't trap it out boom here.
Speaker 3 (01:38):
We are just like that. Man, It's magic.
Speaker 1 (01:39):
Man.
Speaker 3 (01:39):
How do you come up with this stuff?
Speaker 1 (01:40):
Man? Like?
Speaker 3 (01:41):
How do you how do you come up with these beats?
Speaker 1 (01:42):
Man? Honestly? Man like, I'm honestly on the way here, man,
I was on the way here. I came up with
like five songs because I'm in traffic and yo, like no, lie,
it was like a sixteen wheeler like almost busted through
the other side of two eighty five. Okay, Like I
literally just saw it so in that mind, I just
saw the emotion and then you know, probably went through there.
So yeah, I got like five ideas just from seeing that.
(02:05):
Man's it's kind of weird, but it works.
Speaker 2 (02:07):
So it just comes from anywhere. You just all of
a sudden you see something or just life.
Speaker 1 (02:10):
Yeah, it just come from life and what you're hearing,
what you're seeing, the emotion in that moment, or it
might be talking with somebody man, and you know, just
even our interactions. Man, just like butter atl is so fun.
And I just look when I look at the Instagram
page or the feed that it just that's what comes up. Yeah,
and it just it fits everybody for sure. Man, How
(02:32):
did you get started in the music business? Man by mistake? Honestly,
you know, growing up here in Atlanta, man, going to
Magnew High School. A lot of my homies, you know,
end up being like Gucci Man, Rayder Davis, Baby d
with ok Camp Donald, you know what I'm saying, all
(02:52):
of us and yin Yane Twins. Matter of fact, last night,
my boy Colin Park he got married at a surprise wedding.
So I was surrounded with all these people you know
that just started doing great things, and I was just like, hey,
let me shoot my shot and it happened.
Speaker 3 (03:08):
I mean, were you doing music before?
Speaker 1 (03:10):
Did you? Just? Yeah? Yeah, I mean, I mean I
was in a band at Southern University, played trumpet high
school all throughout that. My mom was a classantly trained pianist,
played with Atlanta sef in the orchestra all the churches
in Atlanta. So it's it's in there, you know. And
you know my sister she's a teacher, she's a band
director and everything. I just happened to go to rap rot,
(03:31):
you know. Yeah. Yeah.
Speaker 2 (03:32):
Now do you do you consider yourself like a musician
or like how do you want to like, what's the
proper way to you know, address you as this super producer.
Speaker 1 (03:42):
It's always funny when people say the whole super I
never you know, it's cool, it's flattering, man, all I definitely,
you know, it's it's definitely a musician side of it.
I always incorporate, try to incorporate as much music as possible.
Speaker 2 (03:56):
Yeah, now do you remember what was like the first project,
like your first project, your first beat.
Speaker 1 (04:01):
Yeah, it was terrible Loops or something. Yeah, honestly, yeah,
I got the first version of Fruity Loops man on
my Hewlett packard. Oh yeah college. Yeah. So it was
like a trial version, but it was terrible and somebody
It was terrible to me, but somebody actually bought it.
I was like, well, da, okay, this is actually y'all
(04:22):
like this. Okay, cool, I'm gonna give you another one,
and actually got good at it. Man. So I just
I learned the science of just you know, I used
to be a DJ as well. Yeah, so I learned
how to rock the crowds. Like I just spoke of
sudden universe that had nostalgia. I get on stage, just
one hundred thousand people out there, and I was like, dang,
this used to be me out here just reading the
(04:43):
crowd and knowing what to play. And so from there,
knowing what to play, you kind of know what they
want to hear. Yeah, So when you.
Speaker 2 (04:51):
Hear stuff now, like do you get inspired by some
of the music, do you come out now or like,
you know, how do you feel about a lot of these?
Speaker 1 (04:58):
So I'm not gonna be one of the the older
veterans that hate on the new school. I love what's
going on right now. I mean there's always you know,
if you look at the history of hip hop or
just music as a whole, we've always had our novelty acts.
We've always had our just amazing talents, you know what
I'm saying. And so that's why I laugh at the
(05:18):
older guys. They're like, oh man, it's messed up. Man.
I was like, man, we had Humpty Hump, we had
the Fat Boys, we had all of these you know,
quote unquote acts that people might have frowned upon, but
you know, it has this place. So I love what's
going on right now.
Speaker 2 (05:35):
The one thing that confuses me about what's going on
right now, though, was all the songs so short? Is
that just me and my tripping? Now you're not tripping
at all. Man, it's crazy.
Speaker 1 (05:43):
So one of the things I don't like about now
because it's becoming so tech driven. Yeah, you know, it's not.
There's no emotion in it anymore. You know, it's like, okay, cool,
We're trying to get as many songs out as possible
so we can get the algorithm to bump us on
on playlists and the whole nine. And it's become this
(06:03):
whole tich thing. Yeah. And by the time you actually
like something that the artist says or a hook of something,
the song's going off because they want you to stream
it over and over again. Because when I first got in,
if you sold five hundred thousand copies, you ain't gold.
You was a millionaire. Yeah. But now with the you know,
(06:25):
the streams being a tenth of that, you know, you're
just popular. Yeah, you know. So now it's become a
popularity game. It's just more quantity over quality.
Speaker 3 (06:35):
Yeah, I was.
Speaker 2 (06:36):
I was telling somebody, man, do be a little hot
take here for a second. I blame Lil Wayne for
all this. Now, I'm not gonna say what you think
I'm gonna say. This is the reason why I blame
Little waynecause Little Wayne is one of the best rappers
of all time. Yes, but what Lil Wayne did is
when he was dropping all the dedications and all those albums,
all those mixtapes back to back, he made everybody think
(06:57):
this stuff was easy. Yeah, and but he he was
dropping quantity and quality though. And I think what's happened
is people are trying to replicate that, but they're not
They're not focusing on the quality point as much.
Speaker 3 (07:09):
They got the quantity part outright.
Speaker 2 (07:10):
But again everybody saw that was like, you know what,
I could drop all these mixtapes with thirty forty.
Speaker 3 (07:14):
Songs on it, back to back to back. It's like
you can.
Speaker 2 (07:16):
But if you heard a little Wayne was saying on
thirty or forty songs, right, like, am I crazy?
Speaker 1 (07:20):
When I say that, You're not crazy? You're absolutely right?
And I was telling somebody else. So I tell people
all the time, it's like music became the new hustle
to fix my life. It became a new lottery ticket. Yeah,
you see what I'm saying. So now during those days,
you know that's other one hundred thousand songs come out
of day. Oh that's crazy exactly. And all of those
(07:41):
hundred thousands, some of them almost I think it's like
forty percent of them get zero plays. So it became
the new I fucked my life up, So now I'm
gonna fix it to I'm gonna be a rapper. I'm
gonna do music as they say I'm gonna do music
like And what ended up happening is is just all
the these people, and I'm partly the blame for that
(08:02):
as well. I can't put it out on the way. When
we came out with this kid ain't soldier boy yea.
And when you make things look easy, you know, people
don't understand. I came up under a lot of other
guys who taught me the game, the collor part, the
Needies and all those other guys and Too and all
those you know, they're like my mentors, even Manu Fresh
(08:24):
and all those guys. It looks easy because we put
in so much work and they see the end product.
So when they get into the they just like they
just throw anything out there and the now realizing it's
a whole science to what we've done. And so now
it's you know, now it's the thing. Now if you're
a pretty girl and you got X amount of followers,
(08:47):
you want to do music, And that's what's going on.
It's just going to keep going. So I predict probably
about the next two years we'll be able to two
hundred songs coming out to day.
Speaker 2 (08:56):
That's crazy and yeah, but even that kind of stuff happening, right, Like,
how do you even discovered as an artist when it's
that much music coming out?
Speaker 1 (09:02):
And this is where the whole money thing came into
the industry to where you have to have a lot
of money because to stand out, no matter how good
you are, if there's one hundred thousand songs, I guarantee
you yours is not the only good song, right, So
to stand out, it's just like a restaurant. You're going
to have to have marketing dollars. You're gonna have to
outmarket this stuff even though your stuff is good. Yeah,
(09:24):
and you're gonna have to do it over and over
and over again. So it's becoming harder and harder.
Speaker 3 (09:29):
That's crazy.
Speaker 2 (09:30):
Now, what's the business behind Like being a producer for example,
Like you make a beat, you know, do labels hit
you up ahead of time and say, like this is
a project? Do you just do artists hit you up?
Like how does it kind of go from zero to
one in your in your process?
Speaker 1 (09:43):
So like they say, it's levels to this shit. Right.
So when you first started out, man, you know you
got you know, you first started out, you're trying to
get a name for yourself. You know, you you're you're
basically out here. You're part of one hundred thousand all right.
So but it's a hit driven business, even though the
marketing is important. Sometimes that it is your marketing. So
(10:06):
all the text is one. You hear that all the time.
Once you get that one, then everybody's reaching out to you.
You get another one, Okay, get another one. Then that's
when they start calling you super producer and a lot
of stuff. So I've been blessed to have a couple
of ones every year, you know what I'm saying. So,
but until that point, you know, you're you're building, You're
(10:28):
you're going to open mics, You're trying to chase artists.
I've done all of this. I've gone to the club,
you know with my beat CD here, I've gone to
studios and then I put into work to you know,
get to that point. But once you get to that,
you know you're established in the label. Start hitting you up,
or you know, go to Magic and the local artists,
(10:51):
you know, football player or somebody's investing in the artists
and you know, magic shots shout out of Magic and
you know, the DJ shouts you out. Then they run
up to you. Yeah. So it's it's that type of thing.
You know. It's a little bit of both.
Speaker 3 (11:06):
Okay.
Speaker 2 (11:06):
Now, so again you've had a bunch of them. I mean,
you know, I think I only want to say what
your most well, what is your most what is your
biggest hit been so far? Like I'm guessing, but I'll
let you tell me.
Speaker 1 (11:15):
It kind of depends on who you ask, you know,
if you're talking to uh, if you talk to you know,
a City Girls fan, of course, it's gonna be one
of those records that cater to the women. If you're
talking to you know, your average weed smoker, it's going
to be California. If you're talking to it's gonna probably
(11:37):
be Wobble or that was one of the people involved
with that.
Speaker 3 (11:42):
Yeah, so everybody here, that's all that's all part of you.
Speaker 1 (11:46):
Yes, it's part of the whole thing, with the whole
Calipart movement. Yeah, if you're talking to somebody in the
early thirties, it's going to be one of the Soldier
Boy records. To me, it's still living my best life
with Little Val, Little Duval. Because the impact that it had,
(12:07):
it was it was the most unexpected record, you know
what I'm saying. Like I tell it, it started off
as we were just joking. It was just a joke
at the time, and you know, he was in the
studio doing the intro and it turned into this and
I think it were gonna put tip on it, and
he snoop jumps on it and I was like, oh okay,
(12:29):
and then it goes number one. It went from just
something like an Instagram skit to number one for eight
weeks in a row in the world. Yeah.
Speaker 2 (12:39):
And then like when that happens, like, what is the
impact on you as a producer, Like, are you is
it just you know, the the credibility of it?
Speaker 1 (12:45):
Is it?
Speaker 2 (12:46):
You know, are you getting more opportunities? Like what's happening
while that's number one?
Speaker 1 (12:50):
Man? More opportunities, credibility. It's a whirlwind, and it actually
hasn't stopped. You know, it hasn't stopped, and your world
opens up from the range of artists that reach out
to you at this point. Yeah, because, like I said,
the directors with City Girls an usher. As a producer,
you don't get that much credit for working with the
(13:11):
bigger artists because they're already established. You get more credit
for creating something that was unexpected. So a lot of
times they say, hey, man, you did that with them,
I know you can do this with this person, and
you know, the labels reach out, so you know, it's
a good thing.
Speaker 2 (13:38):
What's your favorite thing about kind of the music making process?
Is it the process itself? Is it when it's done
and you start hearing on the radio, Like, what's kind
of your favorite part about that process?
Speaker 1 (13:47):
Honestly? Like people say radio is dead, but it's still
an amazing Radio is still around. Yeah, it's an amazing feeling.
Like you're traveling somewhere and you turn on the radio.
I just like to do that in different areas and
just see what's playing in one of your songs plays,
or you go to a club or the DJ plays
it and you didn't go up there asking to play
(14:08):
your song, they playing you know what I'm saying. So
cause you got to keep in mind it starts here first.
So idea comes from here and he goes to the
world and he's like, damn, that's crazy, you know what
I'm saying. Like I was in my room by myself,
in my draws on my computer doing this song. Or
I was just in the studio by myself, you know,
(14:29):
starting this one idea and it went to the world
and they loved it. Yeah, So that that never gets old,
never gets old.
Speaker 3 (14:37):
No, I can imagine it.
Speaker 2 (14:38):
I mean, you know, I think even for me, Like
there's been moments where I've seen Butter in like different
places or you know, I've I've we made some merch
or something like that, and you're like walking around and
somebody you're like, man, how did you get this out here?
So I can only imagine if you know, you're at
a at a football game out of town or something
like that and like living my best life comes on
and you're like, yeah, man, I nerved this shit.
Speaker 1 (14:58):
I mean even even take take Butter for instance, like
when I first met you, you y'all was over in
the old fourth Ward, Yeah, and I was amazed at
the set up. Then you know what I'm saying, like,
oh man, this is dope. You showed me the whole
the whole staff on how y'all come up with the content?
I was blown away. So you you definitely understand, like
how you take that idea it grows and not look
at it. It's the same thing. Yeah, Like I'm walking
(15:20):
up to our heart. I'm like, man, be done. Really
he's in our heart. This is amazing. You know what
I'm saying.
Speaker 2 (15:27):
That's that's the beautiful part about the human mind. I mean,
is that the whole idea that you can come up
with an idea and manifested in the reality and then
all of a sudden it takes on a life of
its own right. And I mean you do that with
music all the time.
Speaker 1 (15:39):
Yeah, So it's it's it's a beautiful thing, man. I
just that never gets old. Man, it never gets old,
especially the older you get in this thing. And you know,
you don't understand the youngest generation, but they rock with
your music. Man. I saw their homecoming, you know, there's
playing songs and the kids. It was like, wow, you
went to the school, you know. I was like, yeah,
(15:59):
it's you realize you're touching generations twenty years younger than you. Yeah,
and that's that doesn't happen often. That's a huge blessing.
Speaker 2 (16:08):
Now as a producer too, Like, you know, what are
some of the more you know, non traditional ways you know,
people can make money doing that? Like my guess is
that a lot of people think it's just I make
a beat, I make a song, I get paid for it.
But I'm guessing there's other ways that as a producer
and a you know, as a person that is in
the music business, you make money, Like how else do
y'all kind of monetize this type of work.
Speaker 1 (16:27):
Oh there's so many different opportunities. Man, you just got
to be open. Main thing, like I said, I mean,
you called up he was like, hey, man, I need
a song. You have to be be able to fit
any room. Like now, I do the music for the
Hawks games.
Speaker 3 (16:41):
Oh yeah, yeah, yeah.
Speaker 1 (16:42):
So all the music that plays when the Hawks have
the ball, those are my beats. Oh okay, yeah, So
that that's another type of way. Movies, TV shows. I'm
doing a lot of that right now. Just content because
everybody need every as big as kind ten years right now.
And as you know, as soon as you put somebody
(17:04):
else's song up on Instagram, whatever, it's can flag. I mean,
they flag me for my own stuff. It's crazy, like
I made this, I made this, im like I'm in
the paperwork. I literally have to dispute stuff even when
I post my own stuff. It's crazy and the label
just laughs and they approve it. But I mean commercials, movies, sports, content,
(17:26):
I mean, the list goes on. Whatever going on right now,
you need music, so film. I'm doing a lot of
cartoons and stuff right now as well. So just got
to think outside the box. You know, we all want to,
you know, go in to club and hear our stuff,
but it can be heard other places.
Speaker 3 (17:42):
Yeah, video games, all that stuff.
Speaker 1 (17:44):
Video games is huge right now. I mean my man
T Pain, I don't know if you saw he's getting
paid sixty thousand on twitch.
Speaker 3 (17:51):
Yeah, yeah, T Grizzly out there.
Speaker 1 (17:54):
Yeah, they out here. I'm about to set up my
twitch like when we leave here. I just just thought
about what I'm doing. I'm talking about them. But yeah,
it's just so many different ways as a producer man
just to I'm actually doing a lot of mentoring now
too as well. Yeah, because I have a lot of producers, songwriters,
artists come up to me ask me things, and it's
not necessarily just to make the money, but it's also
(18:16):
just to kind of build community. Yeah, you know, so
you can sell other producer sounds, you can give master classes,
you know, subscriptions, it's all kind of stuff. Yeah.
Speaker 2 (18:27):
It was interesting I saw when I who's that Quavo
and Lenny Kravitz dropped that Flyway remix and everybody I
remember looking online, everybody was like, man, what's this ford?
Speaker 3 (18:36):
I said, No, this is for like video games and movies.
Speaker 2 (18:38):
I can tell right now, like and turned on Madden
and guess what song is playing. It's like, bro, they
thinking ten steps ahead of y'all. You know, y'all worried
about radio playing airplay, Well, that stuff will probably stream.
Let me tell you results go in that and you know,
so are you doing anything in the video game space?
We make any use for that kind off A lot
of stuff in the video game space. And usually what
(18:58):
happens in those type of things the people they literally
license it out and the payout on that is almost
forty to fifty times greater than it would be on radio.
Speaker 3 (19:09):
Really, yes, why is that? That's just how the message number.
Speaker 1 (19:13):
Yeah, that's just the numbers in it. Like perfect example,
when I did California with Dolph and Colonel Loud, it
got picked up by Keanu Okay, the movie with Kem Peel. Yeah,
so I didn't know. I was just excited that my
shit gonna be on a movie. And when they sent
the paperwork on what you get paid for that, I
was like, wow, I need not one to be exactly,
(19:38):
because when people don't understand this, when your song is
placed in the movie, whether it's the opening song or
the closing song, those get the most payoffs. Oh okay, okay,
So it happened to be the closing song, and it
was six figures just.
Speaker 3 (19:53):
To use the song, just on top of everything it's
already there, yeah.
Speaker 1 (19:58):
Just not including the roychies come from that, but just
to use the song six figures, just to say, hey,
can we use it? You know. So that type of
thing over my eyes.
Speaker 2 (20:07):
Man, with all this stuff, like how do you decide
what opportunities to kind of go after.
Speaker 1 (20:12):
I mean, when they send you an email say we
want to pay you his figures to use your song,
I don't know what we need to talk about, you know.
So that was I mean a lot of times it's
no brainers, man, and that that exinda just it kind
of writes itself, you know a lot of times. You know,
shout out to Melissa when she hit me up about
you know, we got cool and she was like, hey, man,
(20:35):
can you give us some music for the game? I
was gonna do it for free, you know, me being
a native Atlanta, you know, I'm a fan of all
the local sports teams. So I'm just like, yeah, yeah,
I'm just want to hear my stuff in the arena.
I never heard it before and she was like, no,
we're gonna pay you. I was like, oh, okay, all right,
cool and I sent them over the songs and they
(20:55):
cut the check almost the same day. I was like,
this is different, you know because on the label side,
a lot of times you put the song out and
what's today October. You might get to check in February March.
If you're lucky, you know what I'm saying, unless you
work with you know, like the QC people, they shout
out at them day they cut them checks like ups,
(21:16):
you know what I'm saying. But traditionally we take a
long time to get paid. But yeah, those type of
situations they kind of write themselves.
Speaker 2 (21:24):
Man oh man, I got to call them hawks. They
never pay me that fast music and shout out to
the Hawks.
Speaker 1 (21:31):
Man. I love y'all.
Speaker 2 (21:33):
And man, look, one of the things about Atlanta to
this unique is stuff gets done in like really kind
of unique, spontaneous places. Yeah, I'm sure you done had
a couple of meetings that happened at Magic City, you know,
even some coffee shops.
Speaker 3 (21:45):
It's all over the place, right like like how do those.
Speaker 2 (21:47):
You know, spontaneous kind of connections, like you know, inspire
the music that you're making very much.
Speaker 1 (21:53):
So, like you said, I've had meetings that in the
middle of traffic. Sometimes you know, we're stuck in traffic,
we pull over to the QT and do like, man,
check out, check out this artist, check out this thene
and third and that type of it's exciting. It's exciting. Man.
I had a real job one time in my life.
(22:14):
For about six months. I worked at General Motors. My
dad got me the job, and I hated it. Okay,
it was good, it was a great pain, but I
had to be there at six o'clock in the morning
and everything. So the freedom to be able to just
go and create your own situation in the most non
traditional ways is just it's exciting. It It makes you
(22:35):
want to get up in the morning and do things
even now, Like I started a environmental lifestyle brand called
Clean Energy Culture, and it's grown into this whole thing
to where were we take environmental issues in our community
and merge them with culture to make them cool and
(22:56):
just to kind of make it part of everyday life.
And that would just started in just a regular studio session,
so a whole nonprofit. All those things just kind of
pop up in regular conversation is amazing.
Speaker 2 (23:09):
Yeah, I was gonna ask you, man, like, what inspired
you to make that jump. I don't think a lot
of people would, you know, put you with sustainability, which
is not a bad thing. I'm just saying, right, like
people when it's I think that's a big initiative for you, Like,
how did that even come up?
Speaker 1 (23:20):
Oh? The same, like you said, just a regular conversation.
My business partner, Michael Hawthorne, he was working with an artist.
He was trying to help a guy out by the
name of Graham shout out to him and we're just
talking and about the music for his artists, and I
just out the blue, I was like, I noticed, you know,
he kind of moved different. I said, you know, we
(23:43):
met on LinkedIn. Okay, that was the number one. I
was like, okay, normally people reaching out on Instagram. I
looked at this profile, like, hey, man, what do you do.
He's like, yeah, I used to work with Obama. I
worked with the Sierra Club. I was like, what's the
Sierra Club. He's like, it's an environmental group. So now
I'm already like, I'm like, but you're black, you know,
(24:04):
because traditionally we think of environmentalists as you know, the
typical hippie Birkenstock five point vibe type thing. And he
was just telling me about issues that was in the
black and brown community and just really everywhere, and I
was like, wow, okay, cool. You know, I was blown
(24:24):
away that we were really facing like things like the
energy burden, which most people don't know about, to where
the energy costs in our community are like twenty percent
higher than other communities. You know, that's because we have
the they say, because we have all the factories, and
you know it's going right down the street they call
the cancer Alley. So I'm just thinking, I'm noticing that
(24:45):
from city to city. I'm doing my research. I get
back with them because I go to the studio that
same night, and before we even get started, I'm talking
with these well known artists. I'm like, hey, man, y'all
know about the energy burden and they're like nah. So
I'm telling them it's a base level what I know,
and it just starts this whole conversation and we won't
even record that day. Went for four hours talking about
(25:07):
asthma and how they grandmama been sick for all this
years and what he's eating and all this stuff. So
I called him back to this that I said, yeah, man,
I think we need to do something, and from there
it was popping it. It's just been going up since then.
Speaker 2 (25:20):
Yeah, And I mean, you know, the important thing for
a lot of you know, brands and initiatives too, is
to your point, tying in the culture, because I think
that that is what really helps something kind of jump
to the next level. So when you say connecting this
to culture, like are you doing it through music? Are
you doing through partnerships? Like what does that look like?
Speaker 1 (25:35):
So initially it was just gonna be through music. It's
gonna make songs about Tesla's and you know, and it
came out kind of corny at first. So it was like,
that's not gonna work because I know us, Yeah, it's
gonna feel like we're selling stuff to people. So now
it's turned into more initiatives. Even when I went to
school to talk to think about the green jobs that's coming,
(25:58):
we have a campaign called Electric the Culture to where
we're going to put EV chargers, make them more available
to people. It makes sense because, like you said, you
see these Tesla trucks everywhere, these electric bill because they're
pushing them on everybody, but they don't have anywhere to
charge them. You got to go all the way back home,
especially not the hood exactly. So we're going to put
(26:20):
some in a couple of well known establishments that people frequent,
you know, strip clubs, churches, has selons, you know things
that we places that we go. We're going to start there,
and a lot of community initiatives just to educate people.
Speaker 3 (26:36):
No, that's it, man.
Speaker 2 (26:37):
You know again, I remember when I was in grad school,
we used to talk about, you know, the idea of
you know EV's and you know, how they can kind
of become, you know, more accepted. And there was this
whole concept that you talk about. It's called range anxiety,
where it's like, you know, if you got to EV Like,
for example, I got a lot of family in the
other LA, Lower Alabama. Right, So if I if I'm
driving from Atlanta, l A the other LA, I just
(26:59):
say it's Lower Alabama. It's like, you know, it's somewhere
a little bit northomobile.
Speaker 1 (27:03):
Oh yeah, yeah, it's.
Speaker 2 (27:05):
Just down there somewhere, right, but like dirt roads and
stuff like that. And I would always say, as much
as I want to get I have. I have a hybrid,
but I have a gas hybrid, so it's half electric
half gas. As much as I want to get like
a full electric hyby, I'm like, I know, I could
never drive this down there. There's nowhere to charge it, right, Like,
there's no charging stations probably within fifty miles of their house,
you know what I'm saying, let alone anybody having them
(27:26):
down there. I think to your point, it needs to
put them in places that are more accessible to the culture,
because you know, they're all up at Linux mall right,
they're all up at you know, all these nice spots,
you know what I'm saying. But yeah, when you go
to the hood, you go to like places that aren't
like that. You don't never see these things out there.
Speaker 1 (27:38):
And think about it, Like the amount of cars that's
out here right now, there's still not enough at Linux
right you see what I'm saying. And then you got
different kind of charges for different kind of cars. It
is so many different stipulations that just don't make sense
right now. So that's that's one of our main initiatives
right now. Because you see people all the time, the
cars are going out, Like you said, the anxiety like man,
(28:01):
I'm not gonna make it home. Yeah, you know, I'm
really gonna be stuck on too eighty five or.
Speaker 2 (28:07):
You know, I always say, you know, sometimes I be
places I all need to be, and let me tell you,
I'm like, you know, I know I can go put
some gas in my car and get about here.
Speaker 1 (28:15):
What I don't want legitly literally I don't need to
be there.
Speaker 2 (28:20):
But what I don't want to do is be like, hold,
let me go charge this thing for an hour real quickly,
then get up out of here. So, yeah, it's got
to be more accessible. Yeah, this is dope.
Speaker 1 (28:28):
Man.
Speaker 2 (28:28):
I never thought about it from that standpointing to your point, like,
that's how you tied it into culture. Again, you can
do it through music and all the other kind of stuff,
but again, just making it more accessible to the culture
is an easy step to kind of make that happen.
Speaker 1 (28:39):
Yeah, and we all go to clubs, we all go
to the hair salon, we all going to church. Yeah,
and you know these things take at least sometimes forty
five minutes to an hour to charge at time, so
you know those are places you spend at least forty
five minutes to an hour. Yeah, So it just makes
more sense to have them more accessible to us.
Speaker 2 (29:09):
So you talked about community when it comes to the
electric stuff, but like also when it comes to just
other producers and just in the music industry, it sounds
like again from your mentors, people you've worked with, you
kind of have a community of those folks as well.
Just how important is community to you and the kind
of stuff that you do?
Speaker 1 (29:24):
Oh man, that's everything. Man, It's like you know what
they say, your network is your net worth. It's real
because you never know where your next situation is gonna come.
It's everything. Without that, you have nothing, no matter how
good your beats. So no matter how dope your song is,
how pretty your artist is, if you don't have that community,
(29:44):
it's just not going to happen. Yeah, And like I said,
there's so many. This is Atlanta. You know, everybody knows
somebody When I come here, and people like, oh so
and so my cousin actually believe.
Speaker 3 (29:53):
Them, Yeah, because as it probably is.
Speaker 1 (29:55):
It probably is you know what I'm saying, Or they say,
oh I know some perfect example. How I got to
the city. Girls, It was not the traditional way. I
didn't go to the an R or nothing. It was
just a friend of mine brought me in on a
session for another independent artist. While I'm in there, I
meet my homeboy, well now my homeboy, and he's writing
(30:16):
for the artists. He's from Miami, and literally we get
cool the hours maybe out session, like maybe about an
hour or two, and you know, he said, send me
some beats. Man, I'm going in with the city girls.
Like okay. This jumped from this independent artist to the
city girls. And had I been not understanding community out
(30:41):
to be like, man, you don't know the city girls,
I don't know. So I immediately was like here, next thing,
you know, circulator is born. So that in itself tells
you even from the little Duval situation, it wasn't a
whole meeting. You know, a lot of people I know
we see on these these movies and stuff and these
(31:02):
reality shows. They sit down and say, hey, we're going
to create a song. It works in nothing like that. Okay.
I got connected with Duval officially through Babay, who's the
guy that Hurricane Chris made the song about a Baybay Ababay.
It is about a radio DJ got a girl. Okay,
(31:23):
so Baby called me to do a song with him
and Zero and he wanted Duval to do the intro.
I knew, of course, I knew who Duval was, but
I never really sat down met with them all that
got this kind of stuff. So when we got in there,
we came in there to initially do the intro for
Babay and be done, and I had the studio for
(31:44):
four hours, so we ended up kicking it and he
did the Smile Friday skit. So just in that community
in itself is three platinum albums, you know what I'm saying.
No sit down meeting with the managers and none of
that with the label was none of that. Yeah, So
that's you know, if you don't understand that part of it,
(32:05):
you're not gonna make it. You gotta understand everybody is important,
you know, no matter how minuscule you might. They might
not be who driving this crazy car or wearing this
jewelry or with the designer own or something, but they
might actually know the person you need to know to
get in that room. And that's how it happened.
Speaker 2 (32:25):
Yeah, people don't know, man. I think people get caught
up in so much of the external stuff, the exterior.
You don't know, you think it to your point It
could just be the person sitting quiet in the corner,
but that person is actually connected to another person next
to you know, you sending beats and like you said,
all of a sudden, it's a platinum album.
Speaker 1 (32:39):
A couple and it's you know, nowadays it's the Instagram.
You know, oh you got oh they ain't got enough followers,
or it's down the third man. These people be really
in the room with these folks. Yeah, and these are
the people that actually have the ear sometimes of the artists.
You know. So a lot of times, you know, producers,
(33:01):
they're trying to they're trying to get to the CEO,
they're trying to get to the m R. They trying
to get nah man. It might even just be the
homeboy that's holding the camera in the club. Yeah, that's
who you need to go talk to.
Speaker 2 (33:13):
It might be the guy starting something called Butter with
five thousand followers being like, hey man.
Speaker 3 (33:17):
Just hear me out for a second.
Speaker 1 (33:18):
Come home, man, all this guys coming around at that.
But that's how it works, you know what I'm saying.
So your community is everything? Man?
Speaker 2 (33:26):
Oh man, No, that's dope, man, out of out of
And I don't know if this is a proper question
to ask, but I'm gonna ask it anyway, Like from
a is there any artists that you actually haven't worked
with that you would love to work with?
Speaker 1 (33:38):
Ah? Yeah, honestly, man. And it's I mean a lot
of the newer artists. It's so it's so many of
the man you know, they got the three letters in
front of their name, and a lot of these artists, man,
I don't find out about them til festivals come. Yeah
you know, so, yeah, it's it's a it's a lot.
It's a lot of.
Speaker 2 (33:56):
Who's been the you know, the biggest artists that you've
worked with in your at least was like, I mean again,
I know people would know this stuff, but like, who
do you consider the biggest starts that.
Speaker 3 (34:03):
You work with so far?
Speaker 1 (34:04):
I mean at the time, I guess for right now
you can say usher present daytime, right now. Before then,
I've been in a room with the Beyonce's Britney Spears.
I've been in some rooms, man, I've been in a
lot of rooms. And the cool thing about it is,
(34:24):
if you're a producer or a songwriter or the spirent,
you know, it's not necessarily about it's always about the relationship.
I always build a relationship. Meaning there's plenty of songs
that's been recorded. They might not ever come out, ever
come out, but just make sure while you're in there
that you make a solid relationship with the artists, the managers, everybody,
(34:48):
the engineer. You know. But I've been in some rooms
I can't even speak on you know. I ain't been
in no ddity party. So when I say that, I
have to put that out. Yeah, yeah, you know, but yeah,
I man, from flow Rider to Pitbull, I've been around.
(35:09):
I've seen all. I've seen them all.
Speaker 3 (35:11):
That's amazing. Man.
Speaker 2 (35:12):
Well look, man, this is this has been good before
we before we got out here, and wrap it up.
One thing I just ask is if there was a
Mister Hanky billboard anywhere in Atlanta and you can put
any message you wanted to put on that billboard, what
would you put on that on that billboard?
Speaker 1 (35:29):
There are several messages I would just say, Man, just
believe in yourself. You know, no matter what you gotta,
you gotta dig deep. It's gonna get rough. But just
no matter what, if you don't give up on yourself,
you can do anything. Man.
Speaker 2 (35:46):
I love to hear well, look at y'all before we
get out of here, please tell folks how can they
find you, how can they reach out? How can they
work with you? If they got their stuff together?
Speaker 1 (35:53):
Man, Yeah, you can hit me up on all social
media platforms a mister hanky b A m R h
A n K y b E A T or if not,
you can hear my manager up Brandon here and but
the atl he he go charge a little bit more,
a little top, a little on top, but he'll get
it done.
Speaker 3 (36:12):
Hey, you know what that reminds me? Where the name
come from?
Speaker 1 (36:15):
Oh? Man? So the name came from when I was
just Southern University. I came in as a freshman. They
call your crab and at the time south Park, south Park,
south Park. One of the upper classmen came in from
practice and I guess south Park had just came on
TV and he came in there and gave all of
us the name from south Park. And one of my
(36:35):
other partners, he was kind of big, so they call
him Cartman for the day. It was just supposed to
be for the day, just a little fun for the day,
and mine stuck and so I just kind of ran
with it and it got so crazy to the point, man,
my professors didn't know my real name was Corey. It
was looking on the road like, I don't see your
(36:57):
name in here. You not on the road. I was like,
that's my name, Corey Dinars. It's like your last name,
not Hank. I said, no, quick, I said, my mama
named Corey. Okay, But it just kind of works. So
you know, that's another lesson, you know, just kind of
sometimes roll with it.
Speaker 3 (37:16):
Never know, you never know what happened. Man, you got
to make a beat for South Park down.
Speaker 1 (37:18):
Man, y'all hear south Park? Y'all know where to find
us out, I know where to find this.
Speaker 2 (37:23):
Hit up Brandon Yo, man, thanks for pulling up, man,
And that's the pod we out. You've been listening to
butter Nomics and I'm your host, Brandon Butler. Comments feedback.
Want to be a part of the show, send us
an email today at hello at butterdomics dot com. Butter
Nomics is produced in Atlanta, Georgia at iHeartMedia by Ramsey,
with marketing support from Queen and Nike. Music provided by
(37:45):
mister Hanky. If you haven't already hit that subscribe button
and never missed an episode, and be sure to follow
us on all our social platforms at butter dot, at L.
Listen to Button Nomics on the iHeartRadio app, Apple Podcasts,
or wherever you get your podcasts.
Speaker 3 (38:00):
I pump
It's an amazing feeling. Like you're traveling somewhere and you
turn on the radio and then one of your songs plays,
or you go to a club or the DJ plays it,
and you didn't go up there asking to play your song.
They playing and you're like, damn, that's crazy, you know
what I'm saying. Like I was in my room by myself,
in my drawings on my computer doing this song. Or
(00:21):
I was just in the studio by myself starting this
one idea and it went to the world and they
loved it. Yeah, so that never gets old.
Speaker 2 (00:32):
Here, everybody, Welcome to another episode of butter Nomics. I'm
your host, Brandon Butler, found in CEO of butter atl
And Today we have a special guest because anytime you
listen to this podcast, anytime this podcast starts playing, there's
a beat that comes on and I'm gonna tell you
right now, that's a mister Hanky beat. Hey, and so
we got mister Hanky in the building. Mister Heck, how
you doing, bro?
Speaker 1 (00:52):
I doing good? Man. It's always good to be here
with you. Man. From the early days of Button Man.
Look at you, man. I'm proud man. This is amazing
You know what I mean?
Speaker 3 (01:00):
Man, you ate one day one? Man, I could definitely.
Speaker 2 (01:01):
Say day one and this thing. Man for real, you
know what I'm saying. You get connected with people's you
know what I'm saying. All you start building on that
next thing. You know, they making beats for you. You know,
when had the podcast coming out, I was, I hit
them up. I said, man, look I need something special,
and he just said, send me some ideas of what
you like and I got you.
Speaker 1 (01:19):
That's all we do is real producers. Man. We cater
around the actual you know, the client. You know, I
don't just send you. Yeah, I got into hard drive.
I'll be like, Okay, some podcast, it's branding, it's butter,
it's gotta be atl but it's still gotta be fun.
We can't trap it out boom here.
Speaker 3 (01:38):
We are just like that. Man, It's magic.
Speaker 1 (01:39):
Man.
Speaker 3 (01:39):
How do you come up with this stuff?
Speaker 1 (01:40):
Man? Like?
Speaker 3 (01:41):
How do you how do you come up with these beats?
Speaker 1 (01:42):
Man? Honestly? Man like, I'm honestly on the way here, man,
I was on the way here. I came up with
like five songs because I'm in traffic and yo, like no, lie,
it was like a sixteen wheeler like almost busted through
the other side of two eighty five. Okay, Like I
literally just saw it so in that mind, I just
saw the emotion and then you know, probably went through there.
So yeah, I got like five ideas just from seeing that.
(02:05):
Man's it's kind of weird, but it works.
Speaker 2 (02:07):
So it just comes from anywhere. You just all of
a sudden you see something or just life.
Speaker 1 (02:10):
Yeah, it just come from life and what you're hearing,
what you're seeing, the emotion in that moment, or it
might be talking with somebody man, and you know, just
even our interactions. Man, just like butter atl is so fun.
And I just look when I look at the Instagram
page or the feed that it just that's what comes up. Yeah,
and it just it fits everybody for sure. Man, How
(02:32):
did you get started in the music business? Man by mistake? Honestly,
you know, growing up here in Atlanta, man, going to
Magnew High School. A lot of my homies, you know,
end up being like Gucci Man, Rayder Davis, Baby d
with ok Camp Donald, you know what I'm saying, all
(02:52):
of us and yin Yane Twins. Matter of fact, last night,
my boy Colin Park he got married at a surprise wedding.
So I was surrounded with all these people you know
that just started doing great things, and I was just like, hey,
let me shoot my shot and it happened.
Speaker 3 (03:08):
I mean, were you doing music before?
Speaker 1 (03:10):
Did you? Just? Yeah? Yeah, I mean, I mean I
was in a band at Southern University, played trumpet high
school all throughout that. My mom was a classantly trained pianist,
played with Atlanta sef in the orchestra all the churches
in Atlanta. So it's it's in there, you know. And
you know my sister she's a teacher, she's a band
director and everything. I just happened to go to rap rot,
(03:31):
you know. Yeah. Yeah.
Speaker 2 (03:32):
Now do you do you consider yourself like a musician
or like how do you want to like, what's the
proper way to you know, address you as this super producer.
Speaker 1 (03:42):
It's always funny when people say the whole super I
never you know, it's cool, it's flattering, man, all I definitely,
you know, it's it's definitely a musician side of it.
I always incorporate, try to incorporate as much music as possible.
Speaker 2 (03:56):
Yeah, now do you remember what was like the first project,
like your first project, your first beat.
Speaker 1 (04:01):
Yeah, it was terrible Loops or something. Yeah, honestly, yeah,
I got the first version of Fruity Loops man on
my Hewlett packard. Oh yeah college. Yeah. So it was
like a trial version, but it was terrible and somebody
It was terrible to me, but somebody actually bought it.
I was like, well, da, okay, this is actually y'all
(04:22):
like this. Okay, cool, I'm gonna give you another one,
and actually got good at it. Man. So I just
I learned the science of just you know, I used
to be a DJ as well. Yeah, so I learned
how to rock the crowds. Like I just spoke of
sudden universe that had nostalgia. I get on stage, just
one hundred thousand people out there, and I was like, dang,
this used to be me out here just reading the
(04:43):
crowd and knowing what to play. And so from there,
knowing what to play, you kind of know what they
want to hear. Yeah, So when you.
Speaker 2 (04:51):
Hear stuff now, like do you get inspired by some
of the music, do you come out now or like,
you know, how do you feel about a lot of these?
Speaker 1 (04:58):
So I'm not gonna be one of the the older
veterans that hate on the new school. I love what's
going on right now. I mean there's always you know,
if you look at the history of hip hop or
just music as a whole, we've always had our novelty acts.
We've always had our just amazing talents, you know what
I'm saying. And so that's why I laugh at the
(05:18):
older guys. They're like, oh man, it's messed up. Man.
I was like, man, we had Humpty Hump, we had
the Fat Boys, we had all of these you know,
quote unquote acts that people might have frowned upon, but
you know, it has this place. So I love what's
going on right now.
Speaker 2 (05:35):
The one thing that confuses me about what's going on
right now, though, was all the songs so short? Is
that just me and my tripping? Now you're not tripping
at all. Man, it's crazy.
Speaker 1 (05:43):
So one of the things I don't like about now
because it's becoming so tech driven. Yeah, you know, it's not.
There's no emotion in it anymore. You know, it's like, okay, cool,
We're trying to get as many songs out as possible
so we can get the algorithm to bump us on
on playlists and the whole nine. And it's become this
(06:03):
whole tich thing. Yeah. And by the time you actually
like something that the artist says or a hook of something,
the song's going off because they want you to stream
it over and over again. Because when I first got in,
if you sold five hundred thousand copies, you ain't gold.
You was a millionaire. Yeah. But now with the you know,
(06:25):
the streams being a tenth of that, you know, you're
just popular. Yeah, you know. So now it's become a
popularity game. It's just more quantity over quality.
Speaker 3 (06:35):
Yeah, I was.
Speaker 2 (06:36):
I was telling somebody, man, do be a little hot
take here for a second. I blame Lil Wayne for
all this. Now, I'm not gonna say what you think
I'm gonna say. This is the reason why I blame
Little waynecause Little Wayne is one of the best rappers
of all time. Yes, but what Lil Wayne did is
when he was dropping all the dedications and all those albums,
all those mixtapes back to back, he made everybody think
(06:57):
this stuff was easy. Yeah, and but he he was
dropping quantity and quality though. And I think what's happened
is people are trying to replicate that, but they're not
They're not focusing on the quality point as much.
Speaker 3 (07:09):
They got the quantity part outright.
Speaker 2 (07:10):
But again everybody saw that was like, you know what,
I could drop all these mixtapes with thirty forty.
Speaker 3 (07:14):
Songs on it, back to back to back. It's like
you can.
Speaker 2 (07:16):
But if you heard a little Wayne was saying on
thirty or forty songs, right, like, am I crazy?
Speaker 1 (07:20):
When I say that, You're not crazy? You're absolutely right?
And I was telling somebody else. So I tell people
all the time, it's like music became the new hustle
to fix my life. It became a new lottery ticket. Yeah,
you see what I'm saying. So now during those days,
you know that's other one hundred thousand songs come out
of day. Oh that's crazy exactly. And all of those
(07:41):
hundred thousands, some of them almost I think it's like
forty percent of them get zero plays. So it became
the new I fucked my life up, So now I'm
gonna fix it to I'm gonna be a rapper. I'm
gonna do music as they say I'm gonna do music
like And what ended up happening is is just all
the these people, and I'm partly the blame for that
(08:02):
as well. I can't put it out on the way. When
we came out with this kid ain't soldier boy yea.
And when you make things look easy, you know, people
don't understand. I came up under a lot of other
guys who taught me the game, the collor part, the
Needies and all those other guys and Too and all
those you know, they're like my mentors, even Manu Fresh
(08:24):
and all those guys. It looks easy because we put
in so much work and they see the end product.
So when they get into the they just like they
just throw anything out there and the now realizing it's
a whole science to what we've done. And so now
it's you know, now it's the thing. Now if you're
a pretty girl and you got X amount of followers,
(08:47):
you want to do music, And that's what's going on.
It's just going to keep going. So I predict probably
about the next two years we'll be able to two
hundred songs coming out to day.
Speaker 2 (08:56):
That's crazy and yeah, but even that kind of stuff happening, right, Like,
how do you even discovered as an artist when it's
that much music coming out?
Speaker 1 (09:02):
And this is where the whole money thing came into
the industry to where you have to have a lot
of money because to stand out, no matter how good
you are, if there's one hundred thousand songs, I guarantee
you yours is not the only good song, right, So
to stand out, it's just like a restaurant. You're going
to have to have marketing dollars. You're gonna have to
outmarket this stuff even though your stuff is good. Yeah,
(09:24):
and you're gonna have to do it over and over
and over again. So it's becoming harder and harder.
Speaker 3 (09:29):
That's crazy.
Speaker 2 (09:30):
Now, what's the business behind Like being a producer for example,
Like you make a beat, you know, do labels hit
you up ahead of time and say, like this is
a project? Do you just do artists hit you up?
Like how does it kind of go from zero to
one in your in your process?
Speaker 1 (09:43):
So like they say, it's levels to this shit. Right.
So when you first started out, man, you know you
got you know, you first started out, you're trying to
get a name for yourself. You know, you you're you're
basically out here. You're part of one hundred thousand all right.
So but it's a hit driven business, even though the
marketing is important. Sometimes that it is your marketing. So
(10:06):
all the text is one. You hear that all the time.
Once you get that one, then everybody's reaching out to you.
You get another one, Okay, get another one. Then that's
when they start calling you super producer and a lot
of stuff. So I've been blessed to have a couple
of ones every year, you know what I'm saying. So,
but until that point, you know, you're you're building, You're
(10:28):
you're going to open mics, You're trying to chase artists.
I've done all of this. I've gone to the club,
you know with my beat CD here, I've gone to
studios and then I put into work to you know,
get to that point. But once you get to that,
you know you're established in the label. Start hitting you up,
or you know, go to Magic and the local artists,
(10:51):
you know, football player or somebody's investing in the artists
and you know, magic shots shout out of Magic and
you know, the DJ shouts you out. Then they run
up to you. Yeah. So it's it's that type of thing.
You know. It's a little bit of both.
Speaker 3 (11:06):
Okay.
Speaker 2 (11:06):
Now, so again you've had a bunch of them. I mean,
you know, I think I only want to say what
your most well, what is your most what is your
biggest hit been so far? Like I'm guessing, but I'll
let you tell me.
Speaker 1 (11:15):
It kind of depends on who you ask, you know,
if you're talking to uh, if you talk to you know,
a City Girls fan, of course, it's gonna be one
of those records that cater to the women. If you're
talking to you know, your average weed smoker, it's going
to be California. If you're talking to it's gonna probably
(11:37):
be Wobble or that was one of the people involved
with that.
Speaker 3 (11:42):
Yeah, so everybody here, that's all that's all part of you.
Speaker 1 (11:46):
Yes, it's part of the whole thing, with the whole
Calipart movement. Yeah, if you're talking to somebody in the
early thirties, it's going to be one of the Soldier
Boy records. To me, it's still living my best life
with Little Val, Little Duval. Because the impact that it had,
(12:07):
it was it was the most unexpected record, you know
what I'm saying. Like I tell it, it started off
as we were just joking. It was just a joke
at the time, and you know, he was in the
studio doing the intro and it turned into this and
I think it were gonna put tip on it, and
he snoop jumps on it and I was like, oh okay,
(12:29):
and then it goes number one. It went from just
something like an Instagram skit to number one for eight
weeks in a row in the world. Yeah.
Speaker 2 (12:39):
And then like when that happens, like, what is the
impact on you as a producer, Like, are you is
it just you know, the the credibility of it?
Speaker 1 (12:45):
Is it?
Speaker 2 (12:46):
You know, are you getting more opportunities? Like what's happening
while that's number one?
Speaker 1 (12:50):
Man? More opportunities, credibility. It's a whirlwind, and it actually
hasn't stopped. You know, it hasn't stopped, and your world
opens up from the range of artists that reach out
to you at this point. Yeah, because, like I said,
the directors with City Girls an usher. As a producer,
you don't get that much credit for working with the
(13:11):
bigger artists because they're already established. You get more credit
for creating something that was unexpected. So a lot of
times they say, hey, man, you did that with them,
I know you can do this with this person, and
you know, the labels reach out, so you know, it's
a good thing.
Speaker 2 (13:38):
What's your favorite thing about kind of the music making process?
Is it the process itself? Is it when it's done
and you start hearing on the radio, Like, what's kind
of your favorite part about that process?
Speaker 1 (13:47):
Honestly? Like people say radio is dead, but it's still
an amazing Radio is still around. Yeah, it's an amazing feeling.
Like you're traveling somewhere and you turn on the radio.
I just like to do that in different areas and
just see what's playing in one of your songs plays,
or you go to a club or the DJ plays
it and you didn't go up there asking to play
(14:08):
your song, they playing you know what I'm saying. So
cause you got to keep in mind it starts here first.
So idea comes from here and he goes to the
world and he's like, damn, that's crazy, you know what
I'm saying. Like I was in my room by myself,
in my draws on my computer doing this song. Or
I was just in the studio by myself, you know,
(14:29):
starting this one idea and it went to the world
and they loved it. Yeah, So that that never gets old,
never gets old.
Speaker 3 (14:37):
No, I can imagine it.
Speaker 2 (14:38):
I mean, you know, I think even for me, Like
there's been moments where I've seen Butter in like different
places or you know, I've I've we made some merch
or something like that, and you're like walking around and
somebody you're like, man, how did you get this out here?
So I can only imagine if you know, you're at
a at a football game out of town or something
like that and like living my best life comes on
and you're like, yeah, man, I nerved this shit.
Speaker 1 (14:58):
I mean even even take take Butter for instance, like
when I first met you, you y'all was over in
the old fourth Ward, Yeah, and I was amazed at
the set up. Then you know what I'm saying, like,
oh man, this is dope. You showed me the whole
the whole staff on how y'all come up with the content?
I was blown away. So you you definitely understand, like
how you take that idea it grows and not look
at it. It's the same thing. Yeah, Like I'm walking
(15:20):
up to our heart. I'm like, man, be done. Really
he's in our heart. This is amazing. You know what
I'm saying.
Speaker 2 (15:27):
That's that's the beautiful part about the human mind. I mean,
is that the whole idea that you can come up
with an idea and manifested in the reality and then
all of a sudden it takes on a life of
its own right. And I mean you do that with
music all the time.
Speaker 1 (15:39):
Yeah, So it's it's it's a beautiful thing, man. I
just that never gets old. Man, it never gets old,
especially the older you get in this thing. And you know,
you don't understand the youngest generation, but they rock with
your music. Man. I saw their homecoming, you know, there's
playing songs and the kids. It was like, wow, you
went to the school, you know. I was like, yeah,
(15:59):
it's you realize you're touching generations twenty years younger than you. Yeah,
and that's that doesn't happen often. That's a huge blessing.
Speaker 2 (16:08):
Now as a producer too, Like, you know, what are
some of the more you know, non traditional ways you know,
people can make money doing that? Like my guess is
that a lot of people think it's just I make
a beat, I make a song, I get paid for it.
But I'm guessing there's other ways that as a producer
and a you know, as a person that is in
the music business, you make money, Like how else do
y'all kind of monetize this type of work.
Speaker 1 (16:27):
Oh there's so many different opportunities. Man, you just got
to be open. Main thing, like I said, I mean,
you called up he was like, hey, man, I need
a song. You have to be be able to fit
any room. Like now, I do the music for the
Hawks games.
Speaker 3 (16:41):
Oh yeah, yeah, yeah.
Speaker 1 (16:42):
So all the music that plays when the Hawks have
the ball, those are my beats. Oh okay, yeah, So
that that's another type of way. Movies, TV shows. I'm
doing a lot of that right now. Just content because
everybody need every as big as kind ten years right now.
And as you know, as soon as you put somebody
(17:04):
else's song up on Instagram, whatever, it's can flag. I mean,
they flag me for my own stuff. It's crazy, like
I made this, I made this, im like I'm in
the paperwork. I literally have to dispute stuff even when
I post my own stuff. It's crazy and the label
just laughs and they approve it. But I mean commercials, movies, sports, content,
(17:26):
I mean, the list goes on. Whatever going on right now,
you need music, so film. I'm doing a lot of
cartoons and stuff right now as well. So just got
to think outside the box. You know, we all want to,
you know, go in to club and hear our stuff,
but it can be heard other places.
Speaker 3 (17:42):
Yeah, video games, all that stuff.
Speaker 1 (17:44):
Video games is huge right now. I mean my man
T Pain, I don't know if you saw he's getting
paid sixty thousand on twitch.
Speaker 3 (17:51):
Yeah, yeah, T Grizzly out there.
Speaker 1 (17:54):
Yeah, they out here. I'm about to set up my
twitch like when we leave here. I just just thought
about what I'm doing. I'm talking about them. But yeah,
it's just so many different ways as a producer man
just to I'm actually doing a lot of mentoring now
too as well. Yeah, because I have a lot of producers, songwriters,
artists come up to me ask me things, and it's
not necessarily just to make the money, but it's also
(18:16):
just to kind of build community. Yeah, you know, so
you can sell other producer sounds, you can give master classes,
you know, subscriptions, it's all kind of stuff. Yeah.
Speaker 2 (18:27):
It was interesting I saw when I who's that Quavo
and Lenny Kravitz dropped that Flyway remix and everybody I
remember looking online, everybody was like, man, what's this ford?
Speaker 3 (18:36):
I said, No, this is for like video games and movies.
Speaker 2 (18:38):
I can tell right now, like and turned on Madden
and guess what song is playing. It's like, bro, they
thinking ten steps ahead of y'all. You know, y'all worried
about radio playing airplay, Well, that stuff will probably stream.
Let me tell you results go in that and you know,
so are you doing anything in the video game space?
We make any use for that kind off A lot
of stuff in the video game space. And usually what
(18:58):
happens in those type of things the people they literally
license it out and the payout on that is almost
forty to fifty times greater than it would be on radio.
Speaker 3 (19:09):
Really, yes, why is that? That's just how the message number.
Speaker 1 (19:13):
Yeah, that's just the numbers in it. Like perfect example,
when I did California with Dolph and Colonel Loud, it
got picked up by Keanu Okay, the movie with Kem Peel. Yeah,
so I didn't know. I was just excited that my
shit gonna be on a movie. And when they sent
the paperwork on what you get paid for that, I
was like, wow, I need not one to be exactly,
(19:38):
because when people don't understand this, when your song is
placed in the movie, whether it's the opening song or
the closing song, those get the most payoffs. Oh okay, okay,
So it happened to be the closing song, and it
was six figures just.
Speaker 3 (19:53):
To use the song, just on top of everything it's
already there, yeah.
Speaker 1 (19:58):
Just not including the roychies come from that, but just
to use the song six figures, just to say, hey,
can we use it? You know. So that type of
thing over my eyes.
Speaker 2 (20:07):
Man, with all this stuff, like how do you decide
what opportunities to kind of go after.
Speaker 1 (20:12):
I mean, when they send you an email say we
want to pay you his figures to use your song,
I don't know what we need to talk about, you know.
So that was I mean a lot of times it's
no brainers, man, and that that exinda just it kind
of writes itself, you know a lot of times. You know,
shout out to Melissa when she hit me up about
you know, we got cool and she was like, hey, man,
(20:35):
can you give us some music for the game? I
was gonna do it for free, you know, me being
a native Atlanta, you know, I'm a fan of all
the local sports teams. So I'm just like, yeah, yeah,
I'm just want to hear my stuff in the arena.
I never heard it before and she was like, no,
we're gonna pay you. I was like, oh, okay, all right,
cool and I sent them over the songs and they
(20:55):
cut the check almost the same day. I was like,
this is different, you know because on the label side,
a lot of times you put the song out and
what's today October. You might get to check in February March.
If you're lucky, you know what I'm saying, unless you
work with you know, like the QC people, they shout
out at them day they cut them checks like ups,
(21:16):
you know what I'm saying. But traditionally we take a
long time to get paid. But yeah, those type of
situations they kind of write themselves.
Speaker 2 (21:24):
Man oh man, I got to call them hawks. They
never pay me that fast music and shout out to
the Hawks.
Speaker 1 (21:31):
Man. I love y'all.
Speaker 2 (21:33):
And man, look, one of the things about Atlanta to
this unique is stuff gets done in like really kind
of unique, spontaneous places. Yeah, I'm sure you done had
a couple of meetings that happened at Magic City, you know,
even some coffee shops.
Speaker 3 (21:45):
It's all over the place, right like like how do those.
Speaker 2 (21:47):
You know, spontaneous kind of connections, like you know, inspire
the music that you're making very much.
Speaker 1 (21:53):
So, like you said, I've had meetings that in the
middle of traffic. Sometimes you know, we're stuck in traffic,
we pull over to the QT and do like, man,
check out, check out this artist, check out this thene
and third and that type of it's exciting. It's exciting. Man.
I had a real job one time in my life.
(22:14):
For about six months. I worked at General Motors. My
dad got me the job, and I hated it. Okay,
it was good, it was a great pain, but I
had to be there at six o'clock in the morning
and everything. So the freedom to be able to just
go and create your own situation in the most non
traditional ways is just it's exciting. It It makes you
(22:35):
want to get up in the morning and do things
even now, Like I started a environmental lifestyle brand called
Clean Energy Culture, and it's grown into this whole thing
to where were we take environmental issues in our community
and merge them with culture to make them cool and
(22:56):
just to kind of make it part of everyday life.
And that would just started in just a regular studio session,
so a whole nonprofit. All those things just kind of
pop up in regular conversation is amazing.
Speaker 2 (23:09):
Yeah, I was gonna ask you, man, like, what inspired
you to make that jump. I don't think a lot
of people would, you know, put you with sustainability, which
is not a bad thing. I'm just saying, right, like
people when it's I think that's a big initiative for you, Like,
how did that even come up?
Speaker 1 (23:20):
Oh? The same, like you said, just a regular conversation.
My business partner, Michael Hawthorne, he was working with an artist.
He was trying to help a guy out by the
name of Graham shout out to him and we're just
talking and about the music for his artists, and I
just out the blue, I was like, I noticed, you know,
he kind of moved different. I said, you know, we
(23:43):
met on LinkedIn. Okay, that was the number one. I
was like, okay, normally people reaching out on Instagram. I
looked at this profile, like, hey, man, what do you do.
He's like, yeah, I used to work with Obama. I
worked with the Sierra Club. I was like, what's the
Sierra Club. He's like, it's an environmental group. So now
I'm already like, I'm like, but you're black, you know,
(24:04):
because traditionally we think of environmentalists as you know, the
typical hippie Birkenstock five point vibe type thing. And he
was just telling me about issues that was in the
black and brown community and just really everywhere, and I
was like, wow, okay, cool. You know, I was blown
(24:24):
away that we were really facing like things like the
energy burden, which most people don't know about, to where
the energy costs in our community are like twenty percent
higher than other communities. You know, that's because we have
the they say, because we have all the factories, and
you know it's going right down the street they call
the cancer Alley. So I'm just thinking, I'm noticing that
(24:45):
from city to city. I'm doing my research. I get
back with them because I go to the studio that
same night, and before we even get started, I'm talking
with these well known artists. I'm like, hey, man, y'all
know about the energy burden and they're like nah. So
I'm telling them it's a base level what I know,
and it just starts this whole conversation and we won't
even record that day. Went for four hours talking about
(25:07):
asthma and how they grandmama been sick for all this
years and what he's eating and all this stuff. So
I called him back to this that I said, yeah, man,
I think we need to do something, and from there
it was popping it. It's just been going up since then.
Speaker 2 (25:20):
Yeah, And I mean, you know, the important thing for
a lot of you know, brands and initiatives too, is
to your point, tying in the culture, because I think
that that is what really helps something kind of jump
to the next level. So when you say connecting this
to culture, like are you doing it through music? Are
you doing through partnerships? Like what does that look like?
Speaker 1 (25:35):
So initially it was just gonna be through music. It's
gonna make songs about Tesla's and you know, and it
came out kind of corny at first. So it was like,
that's not gonna work because I know us, Yeah, it's
gonna feel like we're selling stuff to people. So now
it's turned into more initiatives. Even when I went to
school to talk to think about the green jobs that's coming,
(25:58):
we have a campaign called Electric the Culture to where
we're going to put EV chargers, make them more available
to people. It makes sense because, like you said, you
see these Tesla trucks everywhere, these electric bill because they're
pushing them on everybody, but they don't have anywhere to
charge them. You got to go all the way back home,
especially not the hood exactly. So we're going to put
(26:20):
some in a couple of well known establishments that people frequent,
you know, strip clubs, churches, has selons, you know things
that we places that we go. We're going to start there,
and a lot of community initiatives just to educate people.
Speaker 3 (26:36):
No, that's it, man.
Speaker 2 (26:37):
You know again, I remember when I was in grad school,
we used to talk about, you know, the idea of
you know EV's and you know, how they can kind
of become, you know, more accepted. And there was this
whole concept that you talk about. It's called range anxiety,
where it's like, you know, if you got to EV Like,
for example, I got a lot of family in the
other LA, Lower Alabama. Right, So if I if I'm
driving from Atlanta, l A the other LA, I just
(26:59):
say it's Lower Alabama. It's like, you know, it's somewhere
a little bit northomobile.
Speaker 1 (27:03):
Oh yeah, yeah, it's.
Speaker 2 (27:05):
Just down there somewhere, right, but like dirt roads and
stuff like that. And I would always say, as much
as I want to get I have. I have a hybrid,
but I have a gas hybrid, so it's half electric
half gas. As much as I want to get like
a full electric hyby, I'm like, I know, I could
never drive this down there. There's nowhere to charge it, right, Like,
there's no charging stations probably within fifty miles of their house,
you know what I'm saying, let alone anybody having them
(27:26):
down there. I think to your point, it needs to
put them in places that are more accessible to the culture,
because you know, they're all up at Linux mall right,
they're all up at you know, all these nice spots,
you know what I'm saying. But yeah, when you go
to the hood, you go to like places that aren't
like that. You don't never see these things out there.
Speaker 1 (27:38):
And think about it, Like the amount of cars that's
out here right now, there's still not enough at Linux
right you see what I'm saying. And then you got
different kind of charges for different kind of cars. It
is so many different stipulations that just don't make sense
right now. So that's that's one of our main initiatives
right now. Because you see people all the time, the
cars are going out, Like you said, the anxiety like man,
(28:01):
I'm not gonna make it home. Yeah, you know, I'm
really gonna be stuck on too eighty five or.
Speaker 2 (28:07):
You know, I always say, you know, sometimes I be
places I all need to be, and let me tell you,
I'm like, you know, I know I can go put
some gas in my car and get about here.
Speaker 1 (28:15):
What I don't want legitly literally I don't need to
be there.
Speaker 2 (28:20):
But what I don't want to do is be like, hold,
let me go charge this thing for an hour real quickly,
then get up out of here. So, yeah, it's got
to be more accessible. Yeah, this is dope.
Speaker 1 (28:28):
Man.
Speaker 2 (28:28):
I never thought about it from that standpointing to your point, like,
that's how you tied it into culture. Again, you can
do it through music and all the other kind of stuff,
but again, just making it more accessible to the culture
is an easy step to kind of make that happen.
Speaker 1 (28:39):
Yeah, and we all go to clubs, we all go
to the hair salon, we all going to church. Yeah,
and you know these things take at least sometimes forty
five minutes to an hour to charge at time, so
you know those are places you spend at least forty
five minutes to an hour. Yeah, So it just makes
more sense to have them more accessible to us.
Speaker 2 (29:09):
So you talked about community when it comes to the
electric stuff, but like also when it comes to just
other producers and just in the music industry, it sounds
like again from your mentors, people you've worked with, you
kind of have a community of those folks as well.
Just how important is community to you and the kind
of stuff that you do?
Speaker 1 (29:24):
Oh man, that's everything. Man, It's like you know what
they say, your network is your net worth. It's real
because you never know where your next situation is gonna come.
It's everything. Without that, you have nothing, no matter how
good your beats. So no matter how dope your song is,
how pretty your artist is, if you don't have that community,
(29:44):
it's just not going to happen. Yeah, And like I said,
there's so many. This is Atlanta. You know, everybody knows
somebody When I come here, and people like, oh so
and so my cousin actually believe.
Speaker 3 (29:53):
Them, Yeah, because as it probably is.
Speaker 1 (29:55):
It probably is you know what I'm saying, Or they say,
oh I know some perfect example. How I got to
the city. Girls, It was not the traditional way. I
didn't go to the an R or nothing. It was
just a friend of mine brought me in on a
session for another independent artist. While I'm in there, I
meet my homeboy, well now my homeboy, and he's writing
(30:16):
for the artists. He's from Miami, and literally we get
cool the hours maybe out session, like maybe about an
hour or two, and you know, he said, send me
some beats. Man, I'm going in with the city girls.
Like okay. This jumped from this independent artist to the
city girls. And had I been not understanding community out
(30:41):
to be like, man, you don't know the city girls,
I don't know. So I immediately was like here, next thing,
you know, circulator is born. So that in itself tells
you even from the little Duval situation, it wasn't a
whole meeting. You know, a lot of people I know
we see on these these movies and stuff and these
(31:02):
reality shows. They sit down and say, hey, we're going
to create a song. It works in nothing like that. Okay.
I got connected with Duval officially through Babay, who's the
guy that Hurricane Chris made the song about a Baybay Ababay.
It is about a radio DJ got a girl. Okay,
(31:23):
so Baby called me to do a song with him
and Zero and he wanted Duval to do the intro.
I knew, of course, I knew who Duval was, but
I never really sat down met with them all that
got this kind of stuff. So when we got in there,
we came in there to initially do the intro for
Babay and be done, and I had the studio for
(31:44):
four hours, so we ended up kicking it and he
did the Smile Friday skit. So just in that community
in itself is three platinum albums, you know what I'm saying.
No sit down meeting with the managers and none of
that with the label was none of that. Yeah, So
that's you know, if you don't understand that part of it,
(32:05):
you're not gonna make it. You gotta understand everybody is important,
you know, no matter how minuscule you might. They might
not be who driving this crazy car or wearing this
jewelry or with the designer own or something, but they
might actually know the person you need to know to
get in that room. And that's how it happened.
Speaker 2 (32:25):
Yeah, people don't know, man. I think people get caught
up in so much of the external stuff, the exterior.
You don't know, you think it to your point It
could just be the person sitting quiet in the corner,
but that person is actually connected to another person next
to you know, you sending beats and like you said,
all of a sudden, it's a platinum album.
Speaker 1 (32:39):
A couple and it's you know, nowadays it's the Instagram.
You know, oh you got oh they ain't got enough followers,
or it's down the third man. These people be really
in the room with these folks. Yeah, and these are
the people that actually have the ear sometimes of the artists.
You know. So a lot of times, you know, producers,
(33:01):
they're trying to they're trying to get to the CEO,
they're trying to get to the m R. They trying
to get nah man. It might even just be the
homeboy that's holding the camera in the club. Yeah, that's
who you need to go talk to.
Speaker 2 (33:13):
It might be the guy starting something called Butter with
five thousand followers being like, hey man.
Speaker 3 (33:17):
Just hear me out for a second.
Speaker 1 (33:18):
Come home, man, all this guys coming around at that.
But that's how it works, you know what I'm saying.
So your community is everything? Man?
Speaker 2 (33:26):
Oh man, No, that's dope, man, out of out of
And I don't know if this is a proper question
to ask, but I'm gonna ask it anyway, Like from
a is there any artists that you actually haven't worked
with that you would love to work with?
Speaker 1 (33:38):
Ah? Yeah, honestly, man. And it's I mean a lot
of the newer artists. It's so it's so many of
the man you know, they got the three letters in
front of their name, and a lot of these artists, man,
I don't find out about them til festivals come. Yeah
you know, so, yeah, it's it's a it's a lot.
It's a lot of.
Speaker 2 (33:56):
Who's been the you know, the biggest artists that you've
worked with in your at least was like, I mean again,
I know people would know this stuff, but like, who
do you consider the biggest starts that.
Speaker 3 (34:03):
You work with so far?
Speaker 1 (34:04):
I mean at the time, I guess for right now
you can say usher present daytime, right now. Before then,
I've been in a room with the Beyonce's Britney Spears.
I've been in some rooms, man, I've been in a
lot of rooms. And the cool thing about it is,
(34:24):
if you're a producer or a songwriter or the spirent,
you know, it's not necessarily about it's always about the relationship.
I always build a relationship. Meaning there's plenty of songs
that's been recorded. They might not ever come out, ever
come out, but just make sure while you're in there
that you make a solid relationship with the artists, the managers, everybody,
(34:48):
the engineer. You know. But I've been in some rooms
I can't even speak on you know. I ain't been
in no ddity party. So when I say that, I
have to put that out. Yeah, yeah, you know, but yeah,
I man, from flow Rider to Pitbull, I've been around.
(35:09):
I've seen all. I've seen them all.
Speaker 3 (35:11):
That's amazing. Man.
Speaker 2 (35:12):
Well look, man, this is this has been good before
we before we got out here, and wrap it up.
One thing I just ask is if there was a
Mister Hanky billboard anywhere in Atlanta and you can put
any message you wanted to put on that billboard, what
would you put on that on that billboard?
Speaker 1 (35:29):
There are several messages I would just say, Man, just
believe in yourself. You know, no matter what you gotta,
you gotta dig deep. It's gonna get rough. But just
no matter what, if you don't give up on yourself,
you can do anything. Man.
Speaker 2 (35:46):
I love to hear well, look at y'all before we
get out of here, please tell folks how can they
find you, how can they reach out? How can they
work with you? If they got their stuff together?
Speaker 1 (35:53):
Man, Yeah, you can hit me up on all social
media platforms a mister hanky b A m R h
A n K y b E A T or if not,
you can hear my manager up Brandon here and but
the atl he he go charge a little bit more,
a little top, a little on top, but he'll get
it done.
Speaker 3 (36:12):
Hey, you know what that reminds me? Where the name
come from?
Speaker 1 (36:15):
Oh? Man? So the name came from when I was
just Southern University. I came in as a freshman. They
call your crab and at the time south Park, south Park,
south Park. One of the upper classmen came in from
practice and I guess south Park had just came on
TV and he came in there and gave all of
us the name from south Park. And one of my
(36:35):
other partners, he was kind of big, so they call
him Cartman for the day. It was just supposed to
be for the day, just a little fun for the day,
and mine stuck and so I just kind of ran
with it and it got so crazy to the point, man,
my professors didn't know my real name was Corey. It
was looking on the road like, I don't see your
(36:57):
name in here. You not on the road. I was like,
that's my name, Corey Dinars. It's like your last name,
not Hank. I said, no, quick, I said, my mama
named Corey. Okay, But it just kind of works. So
you know, that's another lesson, you know, just kind of
sometimes roll with it.
Speaker 3 (37:16):
Never know, you never know what happened. Man, you got
to make a beat for South Park down.
Speaker 1 (37:18):
Man, y'all hear south Park? Y'all know where to find
us out, I know where to find this.
Speaker 2 (37:23):
Hit up Brandon Yo, man, thanks for pulling up, man,
And that's the pod we out. You've been listening to
butter Nomics and I'm your host, Brandon Butler. Comments feedback.
Want to be a part of the show, send us
an email today at hello at butterdomics dot com. Butter
Nomics is produced in Atlanta, Georgia at iHeartMedia by Ramsey,
with marketing support from Queen and Nike. Music provided by
(37:45):
mister Hanky. If you haven't already hit that subscribe button
and never missed an episode, and be sure to follow
us on all our social platforms at butter dot, at L.
Listen to Button Nomics on the iHeartRadio app, Apple Podcasts,
or wherever you get your podcasts.
Speaker 3 (38:00):
I pump
Host
Brandon Butler
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