Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm

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Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm

Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm

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This book is a must for everyone interested in illuminating the idea of unexplainable genius' - QUESTLOVE

Equal parts biography, musicology, and cultural history, Dilla Time chronicles the life and legacy of J Dilla, a musical genius who transformed the sound of popular music for the twenty-first century.

He wasn’t known to mainstream audiences, and when he died at age thirty-two, he had never had a pop hit. Yet since his death, J Dilla has become a demigod, revered as one of the most important musical figures of the past hundred years. At the core of this adulation is innovation: as the producer behind some of the most influential rap and R&B acts of his day, Dilla created a new kind of musical time-feel, an accomplishment on a par with the revolutions wrought by Louis Armstrong and James Brown. Dilla and his drum machine reinvented the way musicians play.

In Dilla Time, Dan Charnas chronicles the life of James DeWitt Yancey, from his gifted Detro There’s an old saying in journalism that if you’re going to cover homeless people at a soup kitchen, you have to taste the soup. Unfortunately, I did not follow that edict — partly because those strip joints are gone. I did go to his family church, though! But Tiger’s and Chocolate City are no more, so I had to rely on people’s accounts. You have to remember that this was a time when Detroit had been stripped of much of its infrastructure and services. The strip club was a form of neighbourhood institution. It was the only place you could get a meal prepared with some finesse, where you could make connections; it was the only nightlife in many areas, and a source of income. Dilla made those places a second home because they inspired and energised him. They were where he could impress people with his money and keep his relations with women strictly transactional. But he also fell in love there — Joylette Hunter, who he met when she was stripping, became what you could call the love of his life.” What is remarkable about Suite for Ma Dukes is how relatively obscure Dilla productions like Don't Nobody Care About Us or Gobstopper have been entirely reinvented, the breadth and depth of his textures and ambitions highlighted by these new arrangements. Atwood-Ferguson broke down his chosen pieces into a variety of different elements, including the meaning of the song and emotional content. The melodies, harmonies and basslines from any samples used in the original recordings were recreated. Southern Charm' Stars Congratulate Danni Baird On Her Pregnancy Announcement: "You're Going To Be The Best Mom" Dilla straddled a huge moment of technological changes in music production and consumption at the turn of the century, with the dawn of digital production. But he stayed true to the MPC for a long time, almost as if it was an artisanal tool...

Twenty years before the Roots became the house band for NBC’s The Tonight Show in 2014—placing them at the epicenter of the American cultural mainstream—they were an obscure hip-hop act promoting their first album on the road, opening for only slightly less obscure hip-hop acts. Paul Hollywood Physically Glitched After Eating a Sour Showstopper on 'The Great British Baking Show' "Pastry Week" Decider's Scary Movie Challenge For Scaredy-Cats: 7 Horror Films Ranked From Goofy Ghosts To Full-On Gore Fest Our Take: It’s one thing to listen to, read about, or hear someone tell you how innovative J Dilla’s beatmaking was. But in Legacy, it’s something wonderfully different when DJ Jazzy Jeff provides an audio and visual example by triggering percussion sounds on an MPC and illustrating the savvy of just where Dilla put them. (Onscreen animation adds the tutorial.) The revolutionary sampling and sequencing machine literally has a button you press to make things perfect, to streamline and crisp up a constructed rhythm. But as Jazzy Jeff describes it, Dilla took that machine and added a human element to its tech. He built imprecision into perfection – what we hear is how he meant it – and people have been trying to emulate his ability to do that forever. But there’s never going to be a “Dilla button” on the MPC. How our rhythmic expectations came to be is as much a tale of geography as it is musicology. Our musical expectations are governed by our location: where we’re from, and where we’ve been. So, before we meet James, we need to first take an important journey—from Europe to Africa to America—and on that trip we are going to need maps. In positioning J Dilla, a map of one place in particular tells us much of what we need to know.

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Thus all music begins with the second event. The indivisible number of rhythm is two, for it is the space between the first and second beat that sets our musical expectations and tells us when to expect the third, and so on. The Gilded Age’ Cast: Meet The New Season 2 Cast Members, From Robert Sean Leonard, to Christopher Denham, And More But almost every other European “rule” about music was really a choice. The reason that the above phenomenon is known as the “octave” is that Europeans decided to devise a system making that higher tone the eighth step on a scale of seven degrees or notes. Europeans created a second tonal system, dividing this same distance into twelve smaller, equidistant steps. Again, a choice. Those choices—the seven- or twelve-note scale over even rhythms counted in multiples of either two or three—evolved over hundreds of years into a common practice that determined what Europeans would hear as musical and what they wouldn’t. Bruce Lee's Daughter Says She Doesn't Know What Quentin Tarantino's "Issues Are" With Her Father: "He Has Borrowed From Him Quite A Bit"Jenna Bush Hager Says Her Dad's Own Struggles With Alcohol Helped Her Talk About Matthew Perry's Death With Her Young Daughter What is a Dauphinoise Potato Pithivier? How Dana Accidentally Aced 'The Great British Baking Show' "Pastry Week" Technical Challenge The book’s heart is its rich, evocative musicological analysis, complete with rhythm diagrams, of Dilla’s beats. . . Charnas’s engrossing work is one of the few hip-hop sagas to take the music as seriously as its maker.” — Publishers Weekly (starred review)



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