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.

Changing Pace in Atlanta

Lyon - photograph by Alex Young

"Atlanta, the city of the trap." 'Trap' references drug trafficking and a sub-genre of hip-hop.

Lyon a 23-year-old Atlanta native, and musician describes the city to me this way because he represents one of the alternate sounds that resonates from the A's music community. Lyon's rap is intentional poetry that offers soul and a change of pace to a city where there is more to talk about than fast drug lifestyles and strippers.

Listen, though, there is a sexy and luxurious coolness to urban life in the Southern city. When you hear and watch "Bad and Boujee" by Migos, a rap group from Gwinnett county north of Atlanta, understand new money is in the hands of thousands of people who worked hard to establish their success. Childish Gambino's hit show "Atlanta" theatrically displays the vibrancy and regularity of the city's cultures.

Still, Lyon is not sold on the glamor. He describes Atlanta's progressivity as "bittersweet" because black excellence runs rampant and so does the disenfranchisement of Atlanta's black people. Issues like gentrification take advantage of black people and have taken precedence since the construction of the new Mercedes-Benz Stadium.

But, what makes Atlanta rich are the opportunities available to people of color. Black people encourage each other in Atlanta and the communities support a diverse group of inhabitants.

"It's a melting pot here now. You get different tastes from everywhere," Lyon says.

People are able to thrive and make Atlanta a place where both white people and people of color coexist fairly. Southern hospitality welcomes everybody and keeps the Georgia city humming.

Additionally, the rising success in Atlanta is an inspiration, and music is a definite area that ATLiens find success in.

Atlanta's musical heritage has roots in the church, Civil Rights movements, and the streets that run the clubs. ATLiens and Rappers Outkast, Gucci Mane, and T.I. speak to the different lifestyles that reflect through songs in hip-hop. Likewise Lyon represents the breadth of tastes amongst the new talents in the city.

Lyon's personification precedes him when we talk on a Sunday afternoon at Ponce City Market, an ex-department store built in 1926 that now functions with restaurants and commercial shops. I understand his style upon the previous discovery of Lyon's SoundCloud bio, "Just tryna bring soul back to the city," it reads. The stark contrast to tone that Lyon's rap presents against people trying to "turn the club up," as he says, creates a conversation.

Lyon at Ponce City Market, Atlanta

Soul has affected Lyon all his life. If not for the drums in church or his involvement in the school band, Lyon says his mom is a big reason why warmth and musical instrumentation influences his music. She chose the stylings of George Benson, Al Green, and Marvin Sease to play for her son Brandon, who listeners and readers know as Lyon.  

However, in the city of the trap, it's been a challenge for Lyon to trust his soul in the rap scene.

"I was doing trap music for awhile. I was doing the whole auto-tune vibe, all of it," he says. "That was high school, though, early high school. People wanted me to do that. Friends would hear me play around on a beat and say, 'Yo record that!' It was bad."

Besides, mainstream media has a fascination for trap music and how it occurs in the Atlanta neighborhoods. The trap is a real lifestyle and occupation that disenfranchised people support to better their livelihood. Rappers from the trap make it cool. But, the exposé and promotion of the drugs and violence that coincide with the trap can be damaging to the reputation of African American culture. Atlanta rappers like Future or 21 Savage, as exciting as their music sounds, sensationalize gangster ways of shooting people, selling drugs, and counting stacks of money.

ITR: If you as an artist talk about doing drugs or gunning people down, how do you feel responsible for what happens in the communities?

Lyon: I feel responsible. Essentially, kids are supposed to idolize their parents. But that's not the way it is. We love celebrities. I'm not 'gonna tell a kid to go do something. You see what drug abuse has done to all of us and in black music period. Look at all the greats, we are strung out.

The narratives are "beating a dead horse" and shows like "Noisey Atlanta" by Vice Media distort the dynamic qualities to Atlanta as people's attention focuses on the trap.

"You're happy to see brothers doing anything besides kicking in someone's door," but drugs are "not all that's here," Lyon says.

While sober, Lyon urges other rappers to "think about what we could do with the power."

Though the scene is "turn up" now, Lyon has gained confidence knowing that more empathetic music styles find audiences too. He enjoyed seeing artists like "Raury come up" in Atlanta, and naturally Kid Cudi is a major influence on Lyon as well.

Currently, Lyon becomes relatable to publics through his music because he is not afraid to be himself. "Be weird. It's 2017 and it's OK to be weird," he says after referencing how he was the only one of his friends who rode skateboards.

Thoughtfully, Lyon's songs mean "life is bigger than us," he says. "I want it to be about the music, not me. I want the music to speak for itself [and] things people are afraid to embrace."

Since learning how to make beats in the fifth grade and starting rap in high school, "Paper Planes" sits as the only mixtape on Lyon's SoundCloud page. The song "Greenlights (+peerpressure)" means the most to him because it reflects upon his trying personal moments.

With entertaining and expressive lyrics, nostalgic and passionate scenes feature in Lyon's imaginative work.

“So many coveted rhymers know that they lying to us. They dishonor their occupation, but, honestly, honesty wasn’t obligated from the jump. But, I ain’t mad at y’all because after all the whole generation was raised on Adderall and G.T.A. I wonder how many cheat codes I need to keep me safe. I wonder how many lost souls are ‘gonna see the day.”

— Lyon in "Greenlights (+peerpressure)"

Cuts like "Fxckschxxl(rest.)" set expansive themes, and Lyon's tone challenges listeners to think beyond what society sets on our plates. He wants people to feel motivated beyond "school or your job," he says.

Ultimately, Lyon's next music output will be his debut project, which fans should look for later this year. He calls his 2015 "Paper Planes" tape rushed because he had lost his job at that time two years ago, and he will "put more time into the debut's production." His newer tracks like "Wake Up" supply groove to his affectionate words.

Despite the community's attention on the "turn up" trap music, Lyon hopes to find a niche to perform in front of. "The vibe is there," and areas in Atlanta like Little Five Points, Edgewood, Cabbagetown and Midtown could support his act. "Atlanta has always been supportive of the artists. People throw mixtapes through your window. We got that pull," he says.

Donald Glover's 'Atlanta' Comedy Show Receives 10-Episode Series from FX

Someone recently made the observation, "Childish Gambino is an actor who can low-key rap." Formally known as Donald Glover, the artist showcased his talents doing standup comedy and writing for NBC's 30 Rock show. These achievements were followed by Glover's role as Troy Barnes on the Community sitcom. Glover's on-screen prowess is natural, while plots and characters may extend outside his reality or even beyond the solar the system, like in his latest The Martian performance, he brings quirky Donald Glover with him. Watch "Clapping for the Wrong Reasons," below to make yourself familiar.

In light of Glover's popularity and creativity, FX has decided to give his comedy show, Atlanta, a 10-episode series beginning in 2016. Created by and starring Glover, Atlanta documents two cousins' journey through Georgia's iconic music landscape. Directed by Hiro Murai, the genius behind "Clapping for the Wrong Reasons," Glover plays Earnest "Earn" Marks, described as an "artistic loner" who returns to ATL to face his failures in business and a strained relationship with a woman whom he shares a daughter with.

Nick Grad, president of original programming for FX tells Variety, "Atlanta draws on Donald's considerable talents as a musician, actor and writer to give us something unique."

Source: Complex

Gucci Mane - Trapology (Mixtape)

To the uninformed you probably know Gucci Mane from his gangster Archie role in Spring Breakers with Vanessa Hudgens and Selena Gomez, his pop-ish hit "Lemonade", or the ice cream cone tattooed on his face. But, to his fans, his Atlanta natives, and the hip-hop community Gucci is an icon. The legend crafted a new sub-genre called Trap music that matched ATL's already vibrant rap scene. Beyond the ability to generate radio records and soundtracks for the streets, Gucci has a work ethic needed to be recognized completing marathon studio sessions. His influence is strong, as Noisey Atlanta describes him as a Kingmaker, evidence provided by 2 Chainz, Migos, and Young Thug. Today, Gucci Mane is hitting in full force with his Trapology mixtape which features stars Snoop Dogg, Fetty Wap, and Lil B The Based God. Try something new and take a listen below.

Step Inside the Trap with "Noisey Atlanta - Welcome to the Trap" Episode 1

"Trap music" to the casual rap and hip-hop fan means hard-hitting bass lines joined with a myriad of lyrical flows. But what the casual fan may not know is the drug trafficking overtones that come with Trap. Noisey's Curious George, Thomas Morton, the same man who showed us Chiraq, expands upon the complimentary relationship between drug trafficking and rap with "Noisey Atlanta - Welcome to the Trap". The purpose of the 10-part series documents Atlanta's rap scene, while Episode 1 is a Trap lesson as host Thomas Morton explains Atlanta's drug trafficking history that ultimately led to the Trap. Longtime dealer and robbery boy, Curtis Snow (Snow on Tha Bluff) explains, "It's a Trap. It's one way in, one way out. That's a trap... Where ever there's a trap there's a studio. You can't have the trap, without the studio, without the dope. The dope is what inspires the rap... Trap music is like, crack baby beats, that's what we call it. When a rapper is rapping you should be able to smell the dope cooking." This culture of moving dope and making music has been around for some time. After his time with Snow, Morton spends time with Bleu Davinci, a rapper under Black House Mafia, now a record label, but once a drug smuggling ring in the early 2000s operated by "Big Meech". Watch Episode 1 of "Noisey Atlanta - Welcome to the Trap" below and stay tuned for more episodes, as Thomas Morton will explore Trap Life with ATL stars like 2 Chainz, Gucci Mane, Migos, Jeezy, and Young Thug.