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Willonius Hatcher on Creativity, AI, and the Viral Journey of “BBL Drizzy”

By AI, Creators, Hip Hop, Internet, Music, Social Media

In a world where technology is reshaping the creative landscape, Willonius Hatcher is a pioneer standing at the crossroads of artistry and AI innovation. As an award-winning filmmaker, comedian, and storyteller, Hatcher has used AI to craft groundbreaking projects, including the viralhit and sample “BBL Drizzy,” which sparked conversations globally about creativity, originality, and the role of artificial intelligence in the creator economy.

In our recent Creative Iterations podcast, hosted by Take Creative Control’s Kim Tignor and Hollis Wong-Wear, Hatcher delved into his creative process, the impact of AI tools on his artistry, and the significance of ownership in the digital age. Here’s a closer look at the insights he shared, enriched by broader industry discussions about generative AI.

The Birth of “BBL Drizzy”

“BBL Drizzy” emerged during what Hatcher describes as a moment of creative experimentation. He was participating in a 48-hour AI film festival, working intensely on a video project, when he decided to take a break and experiment with AI music tools. Within hours, Hatcher created a track that would go on to spark global intrigue.

Initially uploaded without much fanfare, the song quickly gained traction on social media, proving the unpredictable nature of virality. Reflecting on the moment, Hatcher said, “I was in such a flow state this year, releasing something almost every week. I didn’t think much of it until my phone started blowing up with messages and notifications.”

The virality of BBL Drizzy was amplified further when renowned producer Metro Boomin remixed it. Not long after, Drake and rapper Sexxy Red sampled the track, making it one of the first mainstream music hits to integrate an AI-generated component.

What Does It Mean to Be Original in the Age of AI?

Generative AI systems like the tools Hatcher uses operate by analyzing vast datasets to identify patterns and generate new content. However, as industry experts point out, this process is fundamentally rooted in recombining pre-existing material, raising questions about the authenticity of “originality.” Axel Schwanke, writing on the limitations of generative AI, notes that while these tools can enhance human creativity, they lack the ability to innovate or infuse work with genuine emotional depth.

For Hatcher, originality in the era of AI is about leveraging these tools to bring creative visions to life while maintaining authorship over the work. He emphasized, “I write everything I make. AI helps with execution, but the ideas, lyrics, and creative direction are uniquely mine.”

Hatcher’s journey aligns with views expressed in the Georgetown Journal of International Affairs, which highlights the ethical dilemmas posed by generative AI. Artists like Hatcher are navigating uncharted territory where traditional notions of originality must evolve to accommodate tools that blur the lines between human creation and machine assistance.

The Challenges and Rewards of the AI-Driven Creator Economy

Hatcher is candid about the hurdles he has faced as a creator in the AI space. While the success of BBL Drizzy opened doors, it also brought challenges in navigating intellectual property, revenue generation, and ethical complexities.

Generative AI, as explored in the Harvard Business Review, has the potential to disrupt creative industries by flooding the market with AI-generated content. This, coupled with the use of copyrighted material in training AI models, has raised legal and ethical concerns. Hatcher, however, remains optimistic, championing a creator-first approach: “If we’re making things that are impactful, we should be able to monetize them and protect our work. Creators deserve the chance to build wealth and pass it on to their families.”

The Democratization of Creativity

One of Hatcher’s key messages is the democratizing power of AI tools. For him, the rise of AI represents an opportunity for creators from diverse backgrounds to bypass traditional gatekeeping and realize their visions independently.

“You don’t need a Hollywood budget to make something impactful,” he shared. “With AI, you can create an entire feature film on your laptop, doing voices, animations, and more on your own. It’s not about waiting for someone to tell you your idea is good. You can just go out and make it.”

This ethos resonates with discussions in the Georgetown Journal, which emphasizes the role of AI in empowering historically marginalized creators. The ability to bypass traditional barriers democratizes access to creative platforms, allowing creators to innovate on their own terms.

The Future of Creativity and Regulation

Hatcher’s story highlights the urgent need for regulatory clarity around generative AI. As AI continues to disrupt creative industries, it is critical to establish frameworks that protect creators while encouraging innovation. Without such protections, the growing influx of AI-generated content could dilute the value of human artistry and exacerbate disparities in the creator economy.

As the Harvard Business Review argues, the challenge lies in finding a balance where technology acts as a complement to human creativity rather than a replacement. For Hatcher, this balance involves continuous learning and adaptation: “Surround yourself with good people, stay consistent, and keep refining your craft. AI is a tool—but it’s up to us to use it thoughtfully.”

Looking Ahead

For Hatcher, the future of creativity is as much about ethics and inclusion as it is about innovation. He hopes to see more creators of color at the forefront of technological advancements and envisions a world where creators are valued and compensated fairly. His story is a powerful reminder of the potential of AI to amplify human creativity while emphasizing the importance of protecting and celebrating original work.

At Take Creative Control, we’re proud to spotlight innovators like Willonius Hatcher, who challenge norms and redefine what’s possible in the creator economy. His journey reminds us that with the right tools, mindset, and support, creators can not only thrive but shape culture in profound ways.

Listen to the full podcast here.

Polarization and the Art World

By Art, Creators

Art Basel Miami has once again blown us away with the diversity and depth at the top of today’s art world. Before the fair got underway, its director warned the New York Times that this year’s edition was so packed with art and events that, “If you don’t pay attention, you can miss the quality of the Miami show.”

It’s a quote that has stuck with me. In our recently released Creator Economy Report, we found that just 2.1% of visual artists and designers who post their work online earn income—any income at all—from doing so. And we weren’t surprised to discover that white artists were much more likely to end up in that lucky sliver of the population.

For centuries, of course, starving artists have lived and worked side-by-side with the prodigies of their generation. Polarization is not new in the art world, and few would argue that it’s anything like a meritocracy. But the sheer scale of today’s middle-class-free art world stands out. Art Basel’s own director sounds overwhelmed by the immense numbers of artists who, at least for one weekend, have “made it.” But, on the other end, over 5 million Americans showed their art online and less than 50,000 earned even a modest living from it.

What do we make of this? Is it even a bad thing? The aspirant-to-star ratio is surely no worse than in sports. Nearly every vacant patch of grass in this country is occupied by soccer-playing tykes on fall weekends, but no one seems concerned about our shortage of careers in professional athletics. Perhaps it is only natural that fields like sports and the arts should have a narrow upper echelon and a vast community of hobbyists, with nothing in between.

There is one important difference, however. While capitalism seems to do just fine providing all the sports we could ever watch and Title IX has vastly expanded opportunities for young people to play sports, fine arts has a major access problem. Even though nearly everyone agrees that arts education is vital, children of color are significantly less likely to take art classes. Gaps like this extend throughout our lives: Black people are more likely to want to go to art museums than whites, but less likely to be able to do so.

These inequalities, of course, run much deeper than the arts and are part of an American system that does all it can to protect the privileged while limiting the opportunities and choices of everyone else. But, for now, let’s focus on how we can expand access to the arts and carve out a middle class for artists because—believe it or not—for once there is a clear and significant step forward that we can take.

Across the world, promoting and funding cultural activities is considered a core function of governments. The United Kingdom (a country with about a fifth of the population of the US) spends over a billion dollars each year to support artists and enhance their culture. Here, the National Endowment for the Arts has a budget of just $167.5 million and, perhaps more tellingly, its budget just went up after a Republican plan to eliminate it backfired.

The last few centuries of art world polarization should be enough to convince us that capitalism alone won’t make art accessible. Just look at NFTs which were heralded, for a week or two, as saviors of the starving artist: the whole, failed concept worshiped at the altar of scarcity. No, if we want to give the five million aspiring American artists a chance to earn a living and enrich our lives, the first step is to multiply the NEA budget by 10, at the very least. And then—with their help—we can get to work on those big, systemic inequalities.

The Comeback of the Crafts(wo)man

By Creators, Small Business

We are in the midst of capitalism’s favorite time of the year. Black Friday, Small Business Saturday, and Cyber Monday kicked things off. Our favorite shows have been overtaken by ads for the latest iPhone, the hottest video game, and the shiniest car that we most certainly do not need. And a few of these ads even boast about how their products are “Made in America” (or “Designed in America” in Apple’s case). But the businesses I want to tell you about are usually smaller than “small” and their proprietors are more likely to call them passion projects than “businesses.” For many of them their products are not just made in America but sometimes in our own neighborhoods. Across the US, there are over 3.4 million creators who make and sell their crafts online. The craftsman is making a comeback, and it’s being led by women. Read More

Why Instagram Is No Rec Room (And How DJs Navigate Music Licenses and New Technology)

By Hip Hop, Music, Music Business

In 1973, Kool Herc invented hip hop—or, at least, gave it a huge shove forward—while DJing rec room parties in the Bronx. He played soul and funk records but focused on the breakdowns of each song. By blending, looping and extending the breaks, he created a whole new sound, a beat-driven type of music instantly recognizable, today, as hip hop.

Then, as now, hip hop was much more than a music genre, it was a cultural movement. The pillars of the movement were known as the five elements of hip hop: DJing, rapping, beatboxing, breakdancing, and graffiti. It was graffiti that introduced Kool Herc, after he emigrated from Jamaica, to the movement and to American culture at large. And, of course, the growing popularity of breakdancing is why he started extending breaks to begin with. Read More

This Year, Don’t Just Shop Small

By Advocacy, Small Business

During the height of the pandemic, all I wanted to do was get away from my neighborhood—and, yes, my neighbors—for a while. I’m sure others felt this way. I love where I live, but I spent so much time dreaming of getting out of there. A vacation would have been fantastic, but a day or two in the office would have done just fine too.

The funny thing is, when I finally got vaccinated and could travel a bit, I missed my neighborhood terribly. After returning home, that home sweet home feeling did not rush over me the minute I stepped in my front door, but, rather, when I went out to grab dinner for the family at our favorite local restaurant. Read More