Uptown Cypher to the Main Stage, Supporting Medhane, Wifigawd & Odd Mojo

A curious hotel guest listens to the first Uptown Cypher of 2020. Polaroid by Maxwell Young, The LINE Hotel, 1/29/20

‘Uptown Cypher to the main stage. Uptown Cypher to the main stage, it’s showtime,’ a sound engineer’s Walkie-talkie growls under the stirring crowd as stage crews prepare for opening curtain. At least, this is how I imagine Saturday’s show at Comet Ping Pong; the Cypher sharing the spotlight with boisterous ambassadors of D.C.’s rap conglomerate in Wifigawd and Odd Mojo, while Medhane’s shooting star passes through District limits. Hip hop in its most instinctive and communal moments juxtaposed with the more compositional and performative elements of the genre—this is an experiment controlled by Angelie Benn, founder and lead events director of Capitol Sound D.C.

“Including interactive performances at [Capitol Sound] events has been on my agenda since last year, but I rarely ever saw an opportunity to do so where it made sense,” Benn said over email. “Now, with the Uptown Cypher a part of this lineup, it furthers our mission of building the bridge between local and national acts…”

Throughout 14 episodes broadcast via the home base of Full Service Radio, the Uptown Cypher has served as a public service announcement, amplifying the myriad of sonic pockets evident in the DMV’s hip hop community: the street sense of MARTYHEEMCHERRY, Fleetwood Deville, Paydroo and SQ; the esoteric consciousness of Mavi, Thraxx King, NAPPYNAPPA and Nate G; the head cranking brought to you by Discipline 99, Johnny Caravaggio, Mfundishi, Supa Statiq, Suede Moccasins and Magnus Andretti; contemporary bops by Cozi Bob, Mesenfants Infinity, Tedy Brewski, Odd Mojo, Khan and Toothchoir; fundamental soul from legends YU, Fat Kneel and Thrty Smthng; the effervescent Greenss; backpack licks from Flex Matthews, Rafael, Nate Jackson Kills Niggas and Paris; the brand name presence from THFCTRY and Sir E.U—Andrew of ROOMHAUS and his necessary warmup mixes. More than 60 locally-based vocalists, emcees and producers have taken the pilgrimage to The LINE Hotel to expand the reach of the DMV sound. For hip hop heads young and old, for the rookies and the veterans, the Uptown Cypher is a platform for artists to hone their skills live and direct, on air. Ultimately, it’s an archive of the District’s musical ecosystem.

Thanks to the one-night triumvirate between InTheRough, Capitol Sound D.C. and Uptown Arthouse, we are proud to present a sampling of the Uptown Cypher program. While we invite all willing wordsmiths and beat-makers to participate, Saturday’s session will be kicked off by longtime friends of the Uptown Cypher, including Nate G, Greenss, Thraxx King, MARTYHEEMCHERRY and Master of Ceremony Jamal Gray. Tickets to this weekend’s show are available here.

The Uptown Cypher is broadcast live via FullServiceRadio.org from 7-9 PM, EST on the last Wednesday of every month. Listen to the one-year anniversary Cypher or the first Cypher of 2020 below.

Uptown cypher

March 7, 2020

10pm-1am

5037 Connecticut Avenue, NW

Washington, D.C., 20008

Carousel images from the one year anniversary episode of the Uptown Cypher, courtesy of Diana N.

Deej: The Next Star To Come From Pittsburgh

Deej | Photographs by Alex Young

The snapshot of Pittsburgh culture the last two years at times was bleak. People died. People key to the development of arts, entertainment, creativity, and ultimately progress in the city are gone. After his death, the artist known as Yung Mulatto left a legacy through his illustrations that showed how he championed familiar hip-hop communities in The ‘Burgh. Jimmy Wopo, another local rap legend, was on the brink of takeoff— stardom. Worldwide notoriety was soon to be his, but senseless gun violence killed him. Mac Miller, a beacon of Pittsburgh pride and musicality, died from an accidental drug overdose. Cap Jazzo, a participant in the local hip-hop scene with the group Glasshead passed on too. Within a year and a half, Pittsburgh lost some of its greatest artists and minds. East Pittsburgh Police officer Michael Rosfeld also killed an unarmed black teen named Antwon Rose shooting him in the back three times during that same period, and a white supremacist killed 11 Jews in their synagogue in Squirrel Hill.

Communities here remain hopeful and productive, though.

A legendary author walks among us snagging press in the New York Times, Time magazine, Washington Post, and more for his debut book, What Doesn’t Kill You Makes You Blacker by Damon Young. Rappers who came up in the local culture performing at functions like First Friday have gotten signed and hit the road for national tours. Benji., a talented musician and performer opens up for popular rap group EarthGang. Coincidence— Benji.’s older brother, Christo, is a trusted DJ and chart-topping producer in the music industry, especially with Dreamville’s J.I.D. Meanwhile, another Pittsburgh player, Zeke Nicholson co-runs the management firm Since the 80s backing EarthGang and J.I.D, along with 21 Savage and other popular hip-hop acts. My Favorite Color, the rapper originally from Los Angeles who moved to Pittsburgh during adolescence through young adulthood, signed with Rostrum Records upon his return home to L.A. Now, Taylor Gang prepares to make a bigger impact in the city upon the release of their compilation mixtape featuring select artists from here in Pittsburgh.

One of those artists on the mixtape will be Deej, a superstar apparent who can rap, sing, and hold your eye.

Once she opened the door and walked in Klavon’s ice cream parlor in the Strip District, the sun from outside behind her peeking through the closing door made Deej glow. Her colorful pink ensemble kept her in the spotlight. A soft, fluffy long pink coat matched her patent leather pink boots. The skirt she wore was teal leather paired with a big teal belt and buckle. The whole thing was groovy and mixed well with fun and playfulness in the ice cream parlor.

“Pittsburgh artists are doing great,” Deej said. “We’re dope people.”

Michael Carroll, Deej’s manager, mentioned Deej’s placement on the Taylor Gang mixtape and began talking about the contemporary culture as it pertains to the history of Pittsburgh’s music scene. There’s two sides: the left side talking about enjoying life and the right side talking about drugs and killing each other. 31-year-old Carroll claims the left side has had better success furthering their careers and getting signed. He references 2008 when Wiz Khalifa was coming up out of the ’Burgh along with other artists like S. Money. It was the same narrative with the left and right side. Wiz became a household name whereas S. Money wound up in jail.

On the other hand, the 22-year-old rapper-songstress Deej fits into any music community well, although admittedly, she’s “a little different” from others. She’s into mermaids, fairies and aliens as a self-described loner. Deej’s ability forces her to pop out because her voice is too good to keep to herself. “I won’t say I’m this talented person, but I am,” Deej said. She’s soft-spoken, but, as you see, the Pittsburgh native can break into her bag and boast when it comes to her music.

“You know I run it.”

— Deej in "#Bykwri"

Impressively, how Deej transitions from rap flow to singing listeners like. “Everything she does is effortlessly,” Carroll said. Her R&B vocals became prominent in her January 2019 debut album called “Unikorn Black.” Tracks on the record like the sultry “Good Wood” and “On$ight,” which samples Ginuwine’s hit song “Differences,” shine as complements with the bars Deej bites off rapping in “#Bykwri.” She said, “I just create art. Some people call me a rapper. Some people call me an R&B singer. I guess I’m both,” classifying her skillsets.

The mood board for Deej takes inspo from Nicki Minaj “Super Bass.” Deej smiles thinking about that time in her life. “I wore Chinese Bangs in highlighted colors all the time. I did my own hair… You know that was that era it was lit swear.”

As an artist, Deej gains traction due to her product and promotion. She’s performed as the opener for Young M.A. The “Unikorn Black” album released first, and now Deej drops periodic music videos to keep the songs fresh. Both “Pri$tine” and “Space$hip” are next to receive visuals. She also credits her team thanks to her mother and Carroll for helping with her success. “Being isolated is cool and all, but really you need other people around you to learn,” Deej said.

Through it all, Deej has learned her process is “about trust.” Trusting herself, trusting her management, and trusting her message is true. “A good environment and good headspace, you’ll be good. You just gotta want it. Get up and go.”

Read the full transcript from the Deej interview below.

---

Deej: Is it homemade ice cream?

InTheRough: I’m not sure, but it is good.

Deej: I kinda want a shirt— a Klavon’s shirt.

ITR: Cool. So, you’re 21-years-old now. How long have you been making music?

Deej: Since I was 17, so four years.

ITR: Where you are now musically— your catalog and your brand— did you imagine that four years ago?

Deej: I prayed for it. “Pray I get there.” I’m a manifest-er. I make it happen.

ITR: Do you feel like you are where you need to be?

Deej: For now.

ITR: Where do you want to go?

Deej: The impossible.

ITR: Now, “Unikorn Black” is what brought me here. The song “Peter Pan” is my favorite song on that album.

Deej: Period.

ITR: I noticed you can have songs like “Peter Pan” or “Space$hip” where your singing steals the show. You can also drop bars. How do you go between those moods?

Deej: I just vibe out. I won’t say I’m this talented person, but I am. If I want to rap, then I’m gonna rap. If I want to sing, then I’ll sing.

ITR: How do you classify yourself?

Deej: I’m an artist. I just create art. Some people call me a rapper. Some people call me a R&B singer. I guess I’m both.

ITR: How do you fit in to the culture here in Pittsburgh musically? Do you even care about it?

Deej: I care a lot about it. It’s actually dope. We had an event yesterday with Taylor Gang. I loved it. We’re doing great things. Pittsburgh artists are doing great. I fit in very well. I’m a little different.

ITR: In what ways?

Deej: The work ethic. The creativity. I’m a little different like I said, but we definitely have similarities, like the swag. It’s dope. We’re dope people.

ITR: Yeah, I saw you Tweeted you met Wiz Khalifa for the first time at the TGOD event.

Deej: Yes, and I was drunk as fuck, but it was lovely. He was like, “Oh, hey, Deej.” I’m like, “Oh, what’s up. I’m drunk as hell, but what’s good?”

ITR: [laughs] I say that not for the fact of meeting Wiz, but for the fact that there’s a lot of hip-hop artists with roots in Pittsburgh who are good and who are making moves. Artists from the ‘Burgh sign deals. I’m curious. How does it feel to be part of that community? How do you feel when other artists make it from Pittsburgh when you’re next to do that?

Deej: It gives me hope. If they can do it, I can do it. I’m as good. We all dope. It just makes sense. Everything takes time and I’m just waiting for my time. That’s all.

ITR: Is there a specific artist out there who gave you that inspiration?

Deej: Honestly, I just stayed in my own lane. I’m a very isolated person. I didn’t really know people in Pittsburgh. I finally popped out now, so I never really compared myself to them. Be myself and I’ll be good.

ITR: Where did you go to high school?

Deej: Moon Township and Upper St. Clair.

ITR: Where were you born?

Deej: I’m from the West Side of Pittsburgh.

ITR: Gotcha. I noticed you’re very colorful. Not just how you dress, but your personality too. Explain your style.

Deej: I was always this colorful person even before I did music. In middle school, I would dress different. I would wear the colorful skinny jeans with the Chuck Taylors. My hair would be different colors. I would say Nicki Minaj. I loved her when I was younger. I wore Chinese Bangs in highlighted colors all the time. I did my own hair. She inspired me. “Super Bass” that was that shit. You know that was that era it was lit swear.

ITR: Yeah, your style is very bubbly. That’s why I picked here at Klavon’s to interview.

Deej: Nice and I love it. That’s why I’m dressed like strawberry ice cream.

ITR: What is your favorite song on “Unikorn Black”?

Deej: I would say “Space$hip” and “Pri$tine.”

ITR: Why those two?

Deej: They sound really pretty. They’re vibe-y. It’s a mood. It’s a couple things. We’ll see in the videos.

ITR: Oh, you’re making music videos for both songs?

Deej: Yes, I’m excited.

ITR: Why do you prefer having money over being famous?

Deej: Because people are terrible. The world isn’t terrible, but the people in it are. People will bring you down so bad. If we get more consistent with love, the world will be better. Fame is not going to be my thing. I’m gonna be ‘over it’ like Summer Walker. Money is okay because I can help other people and expand. Money is kind of important.

ITR: Yeah, it’s important.

Deej: Honestly… I talk my bullshit on Twitter. I do not want my Twitter to be viral. I talk my shit.

ITR: [laughs] That’s why I’m asking some of these questions because I read your Twitter.

Deej: Now I’m going to watch.

ITR: That’s what it’s for though…

Deej: Twitter is for talking shit. People have their moments. People go through things. Just learn how to control emotions. I think you’ll be great once you master that.

ITR: I feel that. My therapist says you have to balance your emotional side with your rational side in order to be the best person you can be.

Deej: Right.

ITR: How important is your mental health to you?

Deej: Very important, that’s why I’m such a spiritual person. I like to meditate. I like to study spiritual things like crystals. I’m really learning it now. Horoscopes too. Mermaids, fairies, aliens, and everything.

ITR: [laughs] That was the perfect description of yourself— mermaids, fairies, aliens— thank you.

So, I was listening to “Good Wood.” I think people are naturally distrusting. When you talk about the female/male dynamic when it comes to love and relationships, females are extra distrusting because some males are dogs. In the chorus of “Good Wood,” I think you’re saying, “Is he a dog or a counterfeit?”

Deej: “Is he a dub or a counterfeit.” Is he a 10/10 or is he fake? Is he really fucking with me or is he fake? Do you want me to sing the hook to you?

ITR: [smirks] Okay, sure.

Deej sings the hook of “Good Wood.”

ITR: You seem genuine and positive. It does suck when people betray you. What advice would you give to younger you or young girls out there to protect themselves in love?

Deej: Just be single and love yourself. I know relationships can teach a person, but trust me be single. Learn to love. Be genuine and open. Be very confident. Take risks. Love could wait. Friendships are important, but love could wait.

I say friendships because people can teach you how to adapt to different environments. They can teach you different traits and how to cope with things. Being isolated is cool and all, but really you need other people around you to learn. Me being a loner I was really weird. I just had to pop out and get to vibe with all the people. I was really shy, but I’m getting better.

ITR: It’s always interesting with entertainers. Like you walked in here fashionably late and all the attention was on you with your pink coat and pink boots to match. You took over the room. I’m like, “Oh, shit. She already is a star.” So, how can you be shy? In a way, your job has become entertaining other people. I feel like entertainers lose parts of themselves that way.

Deej: Honestly, I’m just getting started so we’ll see. Just be pure. Be true to yourself, honestly, that’s really what it is. The universe knows the truth. What you speak and what you live is your truth for sure. If you’re back stabbing and you’re fake, karma is a bitch.

ITR: When you’re making music and you get critique, how do you not take it personally?

Deej: As long as that person knows what they’re doing. You just gotta know what you’re doing and I’ll trust you. It’s all about trust for real.

ITR: What are you working on now?

Deej: Building my content for IG. I’m not an Internet person. I’m still an isolated person, so it’s kind of hard, but I’m getting the hang of it. Plus, I’m a naturally poppin’ person, so it is what it is [laughs]. I’m definitely working on music.

ITR: How do you plan to followup “Unikorn Black”?

Deej: I get better all the time. I have no worries. No worries [laughs]. Either a new project or we’re just going to keep dropping videos. Videos first and then a new project. I feel like “Unikorn Black” needs to be pushed a little more with the videos.

ITR: I like when artists drop an album then delay the release of the music videos. It keeps the project fresh.

Deej: I agree. At first, I was like, “Damn, we haven’t done shit for these.” But, no. Time tells.

ITR: You let the music breathe first then you give people more.

Deej: Right. Time is always right for sure. Stay tuned. I’m excited.

ITR: All of your videos are well done. The storylines everything.

Deej: I agree. They actually were dope. They’ve gotten better. Michael (Deej’s manager), he helps me bring them to life. I am really blessed to have the people I have in my life. You have to have a great team. Great support. My mom is very helpful. A good environment and good head space, you’ll be good. You just gotta want it. Get up and go.

ITR: Michael and I were talking before you arrived about the difference between all the artists in Pittsburgh and those who are finding success is the team around them. What advice would you give to up and coming artists for their path to make it?

Deej: Stay original. Stay pure. Count your blessings.

[Interview conversation on Nov. 12, 2019]

InTheRough Presents Franchise Players: Sounds from the Gridiron

Art meets entertainment. Entertainment meets art. Or maybe they were always intertwined.

Flyer designed by Rob Stokes.

Sunday, September 8 begins an unorthodox spectating experience at Dangerously Delicious Pies in Washington, D.C. Part football game, part art piece, part game within itself—InTheRough presents Franchise Players: Sounds from the Gridiron—an audiovisual performance mashing together the 2019 NFL kickoff, music, food and art.

Football is America’s game, omnipresent during fall months, and although not everyone agrees with its gladiatorial competition or politics, it is an efficient geographical identifier. Of course, this is one way to delineate participants in a cultural community like D.C. that is transient and increasingly informed by non-natives. With the primetime matchup between the New England Patriots and the Pittsburgh Steelers as the focal point, Sounds from the Gridiron will bridge the gap between sports fanatics and artists with kindred creative experiences.

During the live television broadcast of the game, two performing acts will each represent the Patriots and Steelers cohorts. By way of Connecticut, underground rapper Tedy Brewski and master blender/producer Greenss will be the sonic backdrop for the New England contingency, while Pittsburgh-based band Jack Swing and quintet October ‘71—who’s reinterpreting the soot and smog of a vintage Steel City—will amplify Steelers Nation. Beginning with the traditional coin toss and decided by possession of the ball, each band will take the stage with their respective team’s offense. At any given moment, however, performances will interchange due to turnovers (interceptions, fumbles & 3-and-outs) and score conversions. This will be monitored and officiated by referee Sir E.U as the game is projected onto the performers. Think the visual hodge-podge of Andy Warhol’s Exploding Plastic Inevitable with the sounds of The Velvet Underground, but reoriented for football and contemporary tunes—it’s chaos.

On the sidelines of the show, Pittsburgh-inspired eats from the Pie Shop reinforce the fact that Steelers fandom extends beyond the three rivers and across the nation. Tedy Brewski along with Pittsburgh-based artist Quaishawn Whitlock will also showcase their latest 2-d works regarding sports history and popular culture.

Tickets for the event are available for purchase here. Until then, listen to a brief playlist of the acts below.

An unorthodox spectating experience... Pittsburgh (October '71 & Jack Swing) vs. New England (Tedy Brewski & Greenss) -- Sunday, September 8 @ Dangerously Delicious Pies, Washington D.C. (1339 H St. NE) Each "team" will be represented by two performing acts. Beginning with the traditional coin toss, each performer takes the stage during their team's offensive possessions. At any given moment, possessions may switch due to turnovers and score conversions. This will be monitored by the live broadcast of the game projected onto the stage. The game will be monitored by an official referee. 7pm until end of game

Franchise Players: Sounds from the Gridiron

Sunday, September 8

Dangerously Delicious Pies

1339 H St. NE

Washington, D.C. 20002

7pm — End of game

In Retrospect: Seung Hyun Rhee's 'Homesick'

Through manual and digital collage, photographer Seung Hyun Rhee conveys his love of K-Pop and the culture of South Korea. Polaroids by Maxwell Young

At least in America, there is this esoteric following of the Korean Pop music genre that is now bubbling to the mainstream. Platforms like League of Legends, the multiplayer online battle that catalyzed the era of E-Sports; the arcade favorite Dance Dance Revolution; and MySpace ushered in K-Pop as a niche, bubblegum amalgamation of popular sounds. Psy’s massive, more than three billion-times-viewed hit “Gangnam Style” that reverberated around the planet in 2012 elevated the genre to the surface for mainstream music listeners such as myself. But even then—back in my high school days—did I know a handful of people who could name me any other K-Pop song.

Photographer Seung Hyun Rhee was trying to show me concert footage of BTS, the it K-Pop group of the moment, while we met to talk about his thesis project for NEXT, Homesick. Although the boy band has not yet conjured a song as iconic as “Gangnam Style,” the septet is internationally recognized: heart-throbs recently emulating The Beatles’ legendary, American television appearance on The Ed Sullivan Show in 1964, with a cheeky rendition of their single “Boy With Luv” on the Late Show with Stephen Colbert. The dense architectural makeup of George Washington University’s Corcoran School of the Arts and Design caused the video to buffer. “The death circle,” is how Rhee referred to the spotty cell phone connection. “I don’t see that in my country…my country has the fastest internet in the world.”

Rhee emigrated from South Korea in 2007, right as the K-Pop industry hit its apex abroad. “I felt like I was going to get homesick. How was I going to connect to my country?” He looked back on his 12 years in the United States. “Everything is slow, the technology does not match. And what kind of food is this? It’s so oily!”

Initially, Rhee’s aunt shipped physical copies of K-Pop albums overseas, stimulating his affection toward his native country and providing the ultimate spark for engrossment in the genre. Now, however, Rhee buys his own albums, boasting about his royalty status on the online shopping site, Yes24. “I’m getting three or four more albums when I go to Korea this month,” he said. “I’m a collector…K-Pop [albums] have six to eight pages of photo-books in there with lyrics together and random things. But here in America, an album is just plastic with one book and some picture.”

The byproduct of such fandom has yielded an archive of over 200 album covers, collectible merchandise, trading cards, and personal concert photos that became the source material for a series of portrait collages that juxtapose a sense of alienation in America with Rhee’s longing to return home.

This when K-pop fan do the Fine Art Photography Senior Thesis... K-pop 덕후인 순수미술 사진전공이 졸업작품하면 일어나는 일... #kpopfan #shr_photography #corcorannext #corcoranschoolofartanddesign #canoneos5dmark3 #canoneos5dmarkiii #kpopfandom #kpop

37 Likes, 11 Comments - Sean Rhee (Seung Hyun Rhee) (@shr_production_seanrhee) on Instagram: "This when K-pop fan do the Fine Art Photography Senior Thesis... K-pop 덕후인 순수미술 사진전공이 졸업작품하면 일어나는..."

Images of K-Pop stars from Rhee’s favorite groups including TWICE, Miss A, and Wonder Girls inform five androgynous figures that were fit to glass above backdrops that represent his American experience. “It shows more depth and separation between the two countries that I feel,” Rhee said of his collaging methods. The figments have overlapping masculine and feminine facial features with both dainty and boyish physiques in alternating photographs. The dynamism of these characters symbolize the fervor of fanatics like Rhee and the growing culture they embody worldwide, yet the blandness of the backgrounds, such as his living room, bathroom, and United States Capitol building, create a disconnect between the ambivalence the genre has received in America and its pandemonium in Asia.

Adamant to return to South Korea to join the public relations side of the K-Pop industry, Rhee is skeptical of its growth in America. “I think K-Pop can grow here, but everything has a limit,” he said frankly. The differences in fashion taste along with the investment of time and money that goes into developing K-Pop groups (some training for three to five years before they even debut a song) is a risky gamble to make for a nascent genre. Personally, the nationalism with which these entertainment companies (basically music labels in Korea) amplify acts internationally may not be strong enough to gain traction in the United States either. Music is about identity. Listeners relate to a certain sound or visual aesthetic that is a portrayal of their own existence, and right now, the American fabric is largely white, black, and latin-x. And although the K-Pop industry is forming multi-national K-Pop squads, like NCT 127, and is being infiltrated by international writers, including new jack swing creator Teddy Riley to increase the exposure of the genre, the population of K-Pop fans, South Koreans, and other Asian ethnicities just might not be large enough to sustain the industry in the United States. As more groups cross the Pacific to tour North America, time will tell how frenzied the American demographic will become.

Just A Sample 2: An Interview with Deante’ Hitchcock

Written by Hibak Mohamed

Deante’ Hitchcock’s cover art for “Just A Sample 2”

Deante’ Hitchcock’s days of being rap’s best kept secret are coming to an end. The 26-year-old Atlanta native has proven his ranks with his freestyles; it’s now time to sit with his music. Deante’ first started rapping when he was 12. Over the years he found his way back after his love for rap grew. His unmatched work ethic and consistency across social media networks has helped boost him into new trajectories. Hitchcock was discovered on instagram by Mark Pitts and later signed with the RCA-affiliate Bystorm label.

When I first came across his freestyles, I was initially drawn to his authenticity and wordplay. I still laugh thinking back to the time someone called him an industry plant and Deante’ made an entire freestyle full of plant puns. Moves like this are what make Deante’ so likeable and connected to his core fans. During the release of “Just A Sample 2,” Deante’ spent most of his time calling supporters and giving his time to those who elevate him. For an upcoming rapper, amassing a solid core base of support is critical. It’s evident that the respect is present for Deante’ Hitchcock.

“I don’t wanna ever chalk it up to my lack of work ethic.”

— Deante' Hitchcock

Just a week ago, Deante’ released his EP, “Just A Sample 2.” Features include Atlanta legend Kilo Ali, Grammy Award-winning R&B artist H.E.R, and the ultra-talented producer/artist Childish Major. This project was produced by Brandon Phillips-Taylor and executively produced by Mark Pitts. In just a week, Deante’ has been able to garner 1 million streams. From the infectious hooks and catchy melodies to his undeniable pen game, Deante’ proves his well rounded abilities with “Just A Sample 2.” With only 6 tracks, Deante’ gives the us everything we need and leaves us anticipating more. The EP is solely, as it suggests, a taste before the main course. Hitchcock has mastered the ability of evoking an array of emotions through his storytelling to make the listener feel precisely what he is going through. In this EP he explores the theme of love. On “7:45,” Deante’ confidently declares, “who gon love you like me?” On “Changed For You,” he paints a picture of growth by singing, “Just say the word and you got me, baby girl, I'd give up the game for you / Know I was stuck in my playa way way before, but girl, I changed for you.” This project has all of the love anthems you need. If you ever catch yourself singing “Feelings” a little too enthusiastically, just know you’re in too deep.  A dangerous bop indeed. The outro track, “Never (Let You Go),” is a beautiful flip of Brian Mcknight’s, “Never Felt This Way.”

I had the pleasure of speaking with Deante’ and asked him a few questions about “Just A Sample 2.” Whilst playing video games with his brother Darius aka Lil Tounk, Deante’ took his time to thoroughly answer my questions. Deante’ Hitchcock wants to show the world that he is more than just the guy who freestyles in his car. “I was trying to get away from that,” Deante’ tells me on the phone.

The following conversation has been lightly edited for length and clarity.

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Hibak Mohamed: I know you’ve been doing music since you were 12 with the help from your uncle. Did you know back then that this was something you wanted to do?

Deante’ Hitchcock: Hell no. My uncle really got me into this shit in the first place. The only reason I really started writing my own shit was to kinda like prove to him I could do it. It wasn't like an ingrained love for music it was just like, yeah I gotta show him that I could do this shit. That’s where it came from. Then, I gradually like fell in love with it over time.

Mohamed: Was it a group that you were performing in when you first started? Tell me a little bit more about that.

Deante’ Hitchcock: It was definitely a group. My name used to be Dirty D. Man, that shit sounds horrible. We would not be having this conversation right now if that was still my name. I’d still be dropping shit on Soundcloud and no one would listen to that if I still had this name.

Mohamed: Earlier this year you stated you were going to be putting out 52 freestyles, one for every week. What made you make this decision? And has it been challenging being consistent with everything else you have going on?

Deante’ Hitchcock: What’s crazy is I actually made that decision for lack of a better word, out of desperation. I  wasn’t where I thought I could or should be at the time. I was like, I dont wanna ever chalk it up to my lack of work ethic. Even though I feel like I’m pretty much on par doing the same thing as a lot of my peers, it didn’t feel like I was at the same place as a lot of them. So it was like, if I have to do more to get there then that's what I’ll do. It was a move of desperation, if anything. What’s crazy is since we put out the fuckin tape, I had a meeting in NY last week with the label and they actually want me to slow it down. I’m tryna decide how imma go about that now.

Mohamed: From the outside looking in and from a fan stand point, it just showed your work ethic. I appreciate it regardless if you continue to do them or not.

Deante’ Hitchcock: I’m still gonna write them. I’ll just be more strategic with how I put them out. Whole thing they were saying I just understood it. Whether it be to stop them or slow it down a little bit. They didn’t want that to be all that the people expected from me.

Mohamed: When people tell you to keep your freestyles and put that energy towards your music, how do you react? One thing that stuck out to me was the saying, “My music better than my freestyles.”

Deante’ Hitchcock: I definitely don’t want to be remembered as just the guy who can rap. I want to be remembered for the actual music that I put out. Whether it helps someone through a situation, a club hit or something you just vibe to. People who freestyle, it’s a great talent like battle rapping a King Los or a Cassidy, whoever it maybe be. I feel like especially in today's society we’re a lot more melody driven and a lot more song based than anything now. Like if I was rapping in the 90s like am I now, we would probably be having a different conversation. The musical landscape is a lot different now.

Mohamed: How did your relationship with Mark Pitts come into fruition? And what is it like working with such an esteemed person in the industry?

Deante’ Hitchcock: That’s the crazy part. The freestyles definitely served their purpose because shit, that’s how he found me. I had put a black lives matter freestyle over a Kendrick Lamar GKMC beat & then the so gone challenge right after that. That’s when he hit me in my Instagram DMs. I was like “nah this can’t be him forreal.” I thought that was bullshit. But then the next week and a half to two weeks I was on a plane to NY to meet everybody. I was like, “damn this is forreal forreal.” I was just thinking damn it’s crazy how some shit can come from that. Especially something I started off on the whim in my car rapping. This is definitely a beautiful relationship, that’s my guy. He be trying to challenge me to dance battles but he don’t want that smoke. He think he still got it.

Mohamed: You used to dance right? I don’t think many people know that about you.

Deante’ Hitchcock: Yeah I still do that now. I’m actually trying to get back into it because I aint been on it as much. I been trying to figure out how to incorporate it into my music, but not really into the music. More so how to get back into it without making it look corny.

Mohamed: Who’s one artist you were shocked to find out to know about you/your music?

Deante’ Hitchcock: Cole! Really I ain’t gon lie. I ain’t gon say, “shocked” cuz it makes sense if you put it on paper like Mark and Cole got a real close relationship. When I met Cole for the first time, Mark wasn’t around. I went to one of the concerts when Cole had came to Atlanta. This was before I even met DJ Nitrane, but he got me tickets to come to the show. He was like, “I want you to meet Cole.” We haven’t even sat down and kicked it. That was the first time we met at that concert so that was real genuine love. When I walked into the room he greeted me like a little brother. Like, “Yo my nigga!” from across the room. It was crazy. That one threw me off guard.

Mohamed: You were recently on tour with 6lack, what is your relationship like with him & did you know him outside of music since you’re both from Atlanta?

Deante’ Hitchcock: My first time meeting 6lack was a minute ago. It was at the Edgewood parking lot, that’s one of the music spots in Atlanta. He didn’t know me. It was like on some artist to fan type shit. That was my first time but my partner, his name is Steve Cantrell, he’s signed to the Mass Appeal label. We used to dance together, that’s my boy. He put me onto to bruh a long time ago because they used to do shit in Albany together. I knew about him and fucked with his music and gradually over time everything just lined up the right way and ended up on tour with him. That shit crazy.

Mohamed: Congratulations on the release of your EP, “Just A Sample 2.” You initially planned on releasing this EP last year, what roadblocks did you face?

Deante’ Hitchcock: Man, sample clearances are the worst thing in this entire industry and this entire world. Them shits suck. It’s crazy how it all worked out because I feel like with anything once you start getting traction, people work a lot harder to get it done. When we were on tour and we started performing some of those songs, and folks were seeing the response. Some of the songs it was like, “oh shit we really gotta get this out.” We can’t just like half ass it. We really gotta find these people and get these samples cleared. Things really started working in our favor after the 6lack tour. Sample clearances held us back for so long. But, at the same time I’m glad that it worked out the way it did. Because coming off of this tour and dropping that tape felt a lot better I think, than dropping the tape and then going on tour would’ve felt. So, I’m happy about it.

Childish Major (left) Deante’ Hitchcock (right) Photo via Instagram

Mohamed: I see you have features from H.E.R, Childish Major & Kilo Ali; what made you pick these specific artists to capture your theme for this EP?

Deante’ Hitchcock: I mean Childish, that nigga ugly but, that’s my boy. That was a no brainer. We were going to put some shit down anyway. That’s my nigga so, we gon make hella more songs. The Kilo shit, I’m like a big Kilo fan. I feel like Kilo doesn’t get the love that he deserves. My brother will tell you, I listen to Kilo religiously. That nigga is the GOAT. He doesn’t get the love that he deserves and I just wanted to put him on there. It’s crazy because like my mom plays kickball and so, I actually ended up finding that nigga real easily. He was performing at the halftime show at my mom’s kickball game. It tripped me out and I was like, “I gotta make that shit happen.” For H.E.R, it was more political since we are signed to the same label. I wanted to put her on something. The fact that she showed love and did that shit tripped me out. She could have easily been like, “Hell no, I don’t know who the fuck this is.” They told me she really liked the song and was really fuckin with it.

Mohamed: You had the opportunity of being invited to the “Revenge of The Dreamers III” sessions, what was that like?

Deante’ Hitchcock: I was trying to drop 40 points, on everybody, everynight. Everybody that was in there was nuts. You’d go in one room and it’s Cole, KRIT, Wale and T.I. recording some shit. You’d go in the next room and it’s J.I.D, Smino, Vince Staples, and Masego. You’d go in the next room and its Ari, Cozz, Olu, Doc, Bas and Swizz Beatz. The whole environment was just crazy to see all of those people in one place. A lot of people were saying egos weren’t really present in the whole place and it sounds cliche to say that but, nobody was lying. Swizz Beatz was literally going into the rooms with people at Tree Sounds who were just there because they worked there and were recording and he would put some shit on their tracks. It was like, “you’re Swizz Beatz! I don’t know if you realize that.” It was nuts. It was like Disney World for rappers.

Mohamed: Man, that’s so dope. I was actually so happy to see you got an invite to that.

Deante’ Hitchcock: You and me both. The first day I remember being pissed off because I didn’t get my invite until the second day. I talked to my manager like, “damn they’re in Atlanta and nobody’s hitting me up.” Crazy enough that’s part of the reason I started doing NewAtlantaTuesdays. At first, I wasn’t planning on going as far. I was just talking shit. But that really put that battery in my back. I was like, “I gotta snap even harder. I can’t complain.”  The very next morning, I got my invitation.

Mohamed: Do you know how many tracks you’re on or, are you in the dark like the rest of us?

Deante’ Hitchcock: Nah, everyone who isn’t in Dreamville is a little bit in the dark. When I talked to Ib right after, he told me how many songs [there] were all together. Nothing about how many people would be on it. I know they will cut hella songs. It was like 150 songs in total.

Mohamed: What can we expect next from you?

Deante’ Hitchcock: Listen man, I’m gonna say fuck rap and dominate the ice skating world. I’m gonna own a pizza shop. Once I get that crackin, imma say “fuck rap,” and go about my business. Then, I’m going to retire on an island somewhere overseas. The industry is weird and I do not plan on being in this shit forever. I need my hairline to stay intact by the time in 60-years-old. This is not the indicative environment for it so yeah, imma be out in 10 years.

Deante’ had very important question for me at the end of our conversation.

Deante’ Hitchcock: I need to know what type of person you truly are. I ask everybody this. Waffles or pancakes?

Mohamed: Waffles.

Deante’ Hitchcock: Yes! You’re a good person. You deserve all the good things that are coming your way. Say no more.

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Big thank you to Deante’ and Lil Tounk for the inside scoop on the journey. If you’re wondering what Deante’ is up to next, you can catch Dirty D on the second leg of J.I.D’s “Catch Me If You Can Tour.” I can’t promise if he’ll answer to that name but, don’t say you heard it from me. To the pancake lovers, Deante’ and I would personally like to tell you to expand your taste palette.