Podcasts about J Dilla

We gathered to listen through one of the most singular debut albums ever made. Here's the recording of the chat. Niall is joined at our live listening event Listen Closely in the Big Romance by Cian Galvin aka Irish hip-hop producer and crate digger The Expert to discuss... DJ Shadow - Endtroducing (1996) A towering achievement in sample-based plunderphonics, music arrangements and turntablist-lead production techniques, DJ Shadow's 1996's debut album Endtroducing remains one of the most evocative and singular classic albums of recent times. Entirely built of obscure crate-dug samples using an Akai MPC60 sampler, Endtroducing's cinematic soundscapes finds a transportive space where emotionally resonant electronica and hip-hop meet - the middle ground between light and shadow. It is considered one of the best albums of all-time, and is certainly one of mine. * Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord community Listen on Apple | Android  | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Pod.Link The third instalment of our loosely titled Plunderphonics series for the Nialler9 Listening Party brought us to a record that, thirty years on, still doesn't quite sound like anything else. DJ Shadow's Endtroducing, released September 16th 1996 on Mo' Wax, is a record built entirely from other records - and yet it sounds like nothing any of those records ever sounded like. If you missed the night, the podcast recording is above. What follows is a bit of context and some of what we got into. The trilogy so far We've now done The Avalanches' Since I Left You and J Dilla's Donuts as part of this loose series. All three are sample-based records. All three feel like complete worlds unto themselves. There's something about the constraint of working entirely within found sound that produces a particular kind of magic - you're hearing music that was already forgotten being given an entirely new life, filtered through the taste and instincts of one person with a singular obsession. Endtroducing is the most melancholic of the three. It's not a party record or a rap record in any conventional sense. It's a cinematic, introspective piece of work - breakbeats, jazz, psychedelia, hip-hop, all of it dissolved into something that feels like its own atmosphere. The kid from Davis, California Josh Davis grew up in Davis, California, then San Jose - both outside the main cultural centres, which is something he and Mo' Wax founder James Lavelle bonded over immediately when they first spoke by phone. Lavelle had grown up in Oxford. Both felt like outsiders to the scenes they were drawn to. Shadow was experimenting with a four-track recorder in high school and DJing on the campus radio station KDVS at UC Davis before he'd made a single release. By 1993 he was part of the Solesides underground hip-hop collective alongside Blackalicious, Lateef, and Lyrics Born. Lavelle found him through a B-side remix on a forgotten hip-hop promo, tracked him down through a friend at Tommy Boy Records, and told him: "Don't worry about choruses and verses, just push your sound further." That's more or less what he did. The equipment The entire album was made on an Akai MPC60 II, a pair of turntables, and an Alesis ADAT tape recorder that belonged to Dan the Automator. Shadow was 23 years old. The MPC could sample 2.5 seconds of stereo and store 13 seconds total. Everything on the record - the beats, the melodies, the percussion - had to be constructed within those limits. Self-imposed limitation producing something that infinite digital possibilities probably couldn't. There's a reason we don't really get records like this anymore, and it's partly because the tools have become too open-ended. The seams and the constraints are part of what gives Endtroducing its particular texture. The crates Shadow spent his days in the basement of Rare Records in Sacramento, a shop with records piled to the ceiling. He found a mummified bat down there once. The cover photograph, taken by B+, shows producer Chief Xcel and Lyrics Born (in a wig) in that same basement. It's as good a visual summary of the album's ethos as you'll find anywhere. He made it a rule to avoid sampling obvious or well-known material. The samples he pulled were largely from forgotten funk, soul, jazz, experimental, and sound library records - music that had no audience left and no commercial future. He rescued them. The liner notes credit everything, including the big clearance cases: Metallica, Björk, and the David Axelrod piano loop that anchors 'Midnight in a Perfect World'. Lavelle handled the clearances. "The samples were pretty easy to clear," he said. "It's different when you're sampling some Swedish drum break from 1970 than sampling James Brown." The album itself Endtroducing feels like a place. Not a collection of tracks but a world you enter at the start and leave at the end, slightly altered. The drums on 'Building Steam with a Grain of Salt', the disorienting loop of 'Changeling', the controlled chaos of the second half of 'Scatter Brain', the three-part sweep of 'Stem/Long Stem', the ache of 'Midnight in a Perfect World'. It's not a happy record. Shadow said himself that feelings of self-doubt and depression came through in the music during production. You can hear it. The Wire's first ever review called it "a debut of melancholic mediocrity." Melody Maker said "you need this record. You are incomplete without it." The bigger question There's a clip of Shadow in the Rare Records basement that gets used a lot in discussions about Endtroducing. He gestures around at the records and says: "Almost none of these artists still have a career. Ten years down the line, you'll be in here." It's a bleak thought, but also the central one. Sampling asks us to reckon with music's ephemerality - but it also offers a counter-argument. These records survived because Shadow found them. Their sounds are in the album. They're still being heard.

体調が悪い話Donuts / J.DillaとMadvillainity / Madvillainのカセットテープを注文した話自分のビートテープのジャケットを作る話今日のビートYouTube https://www.youtube.com/@katsuOfficialnote https://note.com/kermit71/TikTok ⁠⁠https://www.tiktok.com/@katsu_beat⁠⁠instagram https://www.instagram.com/kermit71【今日のキーワード】ROLAND SP-404 MKII / SP-404 MK2 / AKAI PROFESSIONAL MPC ONE / ビートメイク / コーヒー / Teenage Engineering EP-133 K.O.II / Ableton Move

This week the boys sit down with Dominic Delzompo and discuss Koi Footwear, Intrnetbf, UCLA, the Treehouse, J Dilla, beatmaking, childhood piano lessons, and much much more!!!

En 2005, uno de los productores de hip-hop más influyentes del planeta llegó a casa de Sérgio Mendes con una pila de vinilos bajo el brazo. Todos eran discos de Sérgio Mendes. will.i.am llevaba catorce años sampleando en secreto aquella música. Había llegado el momento de confesárselo a su autor. Timeless (2006) no fue un rescate ni un homenaje. Fue la demostración pública de algo que los productores de hip-hop llevaban décadas sabiendo en voz baja: que la música brasileña de los años 60 y 70 era uno de los grandes tesoros ocultos de la cultura popular del siglo XX. Madlib, Jay-Z, Kanye West, J Dilla, Flying Lotus — todos habían ido a los mismos vinilos, a las mismas grabaciones, a buscar el groove que no encontraban en ningún otro sitio. Lo que Mendes y will.i.am hicieron juntos fue llevar esa conversación subterránea a la superficie. Con una lista de invitados que incluye a Erykah Badu, Stevie Wonder, John Legend, Q-Tip, Jill Scott, Justin Timberlake e india.arie, Timeless fue el primer intento de hacer esa tesis visible para el gran público: que la bossa nova, la samba y el hip-hop son primos que crecieron separados pero que comparten el mismo impulso rítmico — el mismo origen africano. En este episodio rastreamos ese encuentro desde sus raíces hasta sus consecuencias: cómo se gestó Timeless, qué vino después — Encanto, Bom Tempo, Magic — y por qué una puerta que se abre, ya no se puede cerrar.

On this episode of The Bandwich Tapes, I sit down with Billy Allen and Jay Burgess from Billy Allen + The Pollies for a conversation that feels less like an interview and more like hanging out with musicians who care deeply about feel: the kind of musical quality you can't really quantify. Still, you know immediately when you hear it.We start with a full-circle moment: the band was scheduled to play Smith's Olde Bar in Atlanta the night of our conversation, a venue I know well. That quickly turns into stories about the realities of life as a working band: stairs, load-ins, and the kind of shared touring experiences that musicians everywhere instantly understand.From there, we trace the long arc of how Billy and Jay's collaboration actually came together. Their connection began years earlier when Jay first heard Billy singing in a bar, but it took time for the right musical moment to develop. That theme of timing runs through the entire conversation, how artists grow into themselves, and how patience can be the difference between a short-lived project and something sustainable.One of my favorite parts of the conversation centers on their philosophy about recording. Billy and Jay talk about their love for capturing music as a band in the room, embracing the push and pull of human tempo and the small imperfections that give a track its life. Jay describes himself as a “perfectionist at imperfection,” and we unpack that idea through classic records that breathe, groove as personality, and what “Southern” really means musically, less about technical flash and more about emotional honesty.We close by talking about what's ahead: the creative pressure of follow-up releases, the temptation to chase past successes, and why the healthiest path forward might be to keep writing, recording, and trusting the process.Key TakeawaysFeel whether the foundation of great music — groove and emotion often matters more than technical perfection.Timing matters in creative partnerships — the right collaboration can sometimes take years to develop fully.Touring creates a shared language among musicians — the realities of life on the road shape the band experience.Recording together captures something unique — the push and pull of human tempo can't be replicated digitally.Imperfection can be musical strength — small flaws often give recordings their personality.Southern musical traditions emphasize soul and storytelling — emotional honesty over technical showmanship.Trusting the process is essential — the best songs often reveal themselves when artists give them time.Music from the EpisodeAll of Me - Billy Allen + the PolliesLady Luck - Billy Allen + the PolliesIf You Want Me to Stay - Billy Allen + the PolliesAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

The longtime BBC Radio 1 DJ talks about his rigorous music-discovery routine, soundtracking the world's most elite runways and the legacy of his party series, Deviation.Since first stepping onto the airwaves more than 20 years ago, Benji B has spent his career bridging London club culture with the worlds of art and fashion. He's hosted his weekly BBC Radio 1 show for over two decades, founded the legendary Deviation party series, and served as musical director for Celine, Louis Vuitton and now Burberry.Beyond the booth, the London DJ has also left fingerprints on some of the 21st century's most defining records—from Kanye West's Yeezus and The Life of Pablo to projects by J Dilla, Pusha T, Sampha, FKA twigs, Tyler, the Creator, Arca and Flying Lotus. Across genres and scenes, he's become known as a consultant, collaborator and trusted ear at the highest level of culture.In this Exchange, Benji B talks about the discipline it takes to sustain a life like this—including his rigorous, long-running "two-days-a-week" music search—and reflects on his creative partnership with the late Virgil Abloh. He also shares how he's brought underground innovators like Jeff Mills and Cybotron onto some of the world's most rarefied runways. Listen to the episode in full. Hosted on Acast. See acast.com/privacy for more information.

J.DillaのDonutsのカセット版がまた品切れになった話どのカセットテープソフトを買うかの話YouTubeの登録者の話今日のビートYouTube https://www.youtube.com/@katsuOfficialnote https://note.com/kermit71/TikTok ⁠⁠https://www.tiktok.com/@katsu_beat⁠⁠instagram https://www.instagram.com/kermit71【今日のキーワード】ROLAND SP-404 MKII / SP-404 MK2 / AKAI PROFESSIONAL MPC ONE / ビートメイク / コーヒー / Teenage Engineering EP-133 K.O.II / Ableton Move

A track from the excellent ZENA release on Brownswood. Rap from db. & Paul Stephan, Heavy D (produced by J Dilla & Q-Tip), King Kashmere feat Durrty Goodz, Flirta D & Harry Shotta (flipping a Jungle classic for the beat). A big tune from The CJP Band. Cuban dancefloor grooves from the DJ Koco compilation on Mr Bongo. Turkish Disco Funk from Sosyete '25 on Tru Thoughts. Anish Kumar & Arooj Aftab cover of the classic Sweet Dreams (from the soundtrack of Riz Ahmed's Bait series). Soul from Jill Scott and Gospel Supremes. Plus plenty more music treats.

FULL EPISODE: https://bit.ly/3KNCuT9   Welcome to a sneek peek of our J Dilla series over at the Patreon, and today we're talking about his epic production from Phat Kat's 'Carte Blanche' album in 2007, specifically the cut featuring Elzhi - 'Cold Steel'. And joining us in the hot seat is our main man SonRaw - strap in!

Using Talib Kweli and Busta Rhymes' "Conversations" as a launching pad, Moulz & Mel dive into other times Talib hopped on J Dilla beats, then somehow end up trying to avoid a wrestling match against a Twinkie.Full episode: https://www.patreon.com/posts/rap-rankings-e54-153318595

Elena Neniškytė – UMIKO Kotori su pavasariu pristato naują kūrinį, žada albumą ir vaizdo klipą: „Nuo rudens kūriau, nespaudžiau savęs į jokius rėmus. Turėjau tikslą – tobulinti garsinį skambesį, įnešti daugiau kokybės. Man atrodo, pavyko, labiausiai tuo džiaugiuosi“, – prieš „Slowey“ premjerą pasakojo atlikėja. Daina labai primena amerikietišką soul: „Kokybės kartelė – atlikimo, aranžuotės, garso, su įrašams pakviestais kolegomis, pakilo į dar aukštesnį lygį. Žaviuosi šiais muzikantais, didžiuojuosi. Kūrinys tiesiog wow!“, – sakė J Dilla įkvėpta E. Neniškytė. Balandžio 19 d. pasirodys įrašas, kurį UMIKO Kotori norėtų nusiųsti reperiui Busta Rhymes. Nenuspėjamas naujas atlikėjos albumas – gegužę. Ved. Marius Andrijauskas

D'Angelo's Brown Sugar sounded like nothing else in 1995. R&B was slick, polished, and built for clubs. D'Angelo later said the "deeper consciousness" had gone out of contemporary music. Questlove later wrote that contemporary R&B had become "trite" and "soulless" ... and then there was Brown Sugar, D'Angelo's debut album. It sounded more like the '70s than the '90s. More like church than the club. On this episode of You'll Hear It, jazz pianists Adam Maness and Peter Martin go track by track through D'Angelo's debut, pulling apart the vocal stems, naming the jazz chords underneath the soul, and tracing every influence back to its root. They also bring in the archival recordings you might have missed: a live set from the Jazz Café London that gives the album a whole second life, and a J Dilla remix.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Voodoo: https://youtu.be/AYqmFNF2s0U-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love: https://youllhearit.com/newsletter -------------------------------00:00 - D'Angelo's Brown Sugar01:11 - Let's Go Back to 1995 05:35 - "Brown Sugar"08:30 - Engineer Bob Power's Influence 09:13 - "Brown Sugar" Felt Different From Anything Else in 199516:57 - D'Angelo on Why He Picked Bob Power19:30 - "Alright" 28:57 - Isolated Vocal Stems on "Alright"31:27 - "Jones in My Bones" 33:20 - The Little-Known D'Angelo Album36:25 - "Me & Those Dreamin' Eyes of Mine"40:30 - The J Dilla Remix (1997)44:18 - "Shit, Damn, Motherfucker" 46:30 - Live at the Jazz Cafe - "Shit, Damn, Motherfucker"48:10 - "Smooth" 50:20 - D'Angelo Could Have Been a Jazz Pianist53:04 - D'Angelo and Peter's Ellis Marsalis Connection56:21 - "Cruisin'" 59:25 - Ad Break: Learn To Play Like D'Angelo1:00:37 - "When We Get By"1:04:44 - "We Were Just Mocking Dilla": Raphael Saadiq on How "Lady" Was Made1:06:20 - "Lady"1:11:02 - "Higher"1:15:28 - "Brown Sugar" Hits Different 30 Years Later1:17:00 - Our Favorite Moments1:23:45 - Quibble Bits, Snob-O-Meter & Accoutrements1:27:26 - Up Next + Listener Reviews1:29:45 - Open Studio Plays "Lady"

Ian Gabriel (MIRAAGE) is both a professional Music Artist and a Motivational Speaker. Born and raised in Lexington, KY. The music has a Pop/Jazzy/Hip-Hop feel, spiced with horns and flow switches. This along with his voice creates beautiful soundscapes with soul and passion. MIRAAGE has been making music since he was very young and has been producing it professionally since 2010.He debuted his first full length project, "Donuts & Coffee" in 2015 which is a tribute album to the late great James Dewitt Yancy AKA J Dilla. The album displays MIRAAGE'S lyrical prowess and complexity over the instrumentation provided by J Dilla's "Donuts" album. He continues to provide intricacy and yet stay simple enough to make sure the message connects with his audience. He brings back true soul music into an industry that is now so hard to find. Ian is also an activist for foster youth and individuals with disabilities. He started speaking at different events/conferences at age 15. He uses humor and music to connect with youth, families, and professionals on various topics; Relating to his 13 years that he spent in the foster care system. Recently he gave a keynote for the 2nd time at the annual KECSAC con-ference (Kentucky Educational Collaborative for State Agency Children) and has also spoken at several events nationally. He's also been involved with different organizations building the futures for youth: such as TAYLRD (Transition Age Youth Launching Realized Dreams), YMO (Youth MOVE Oregon), and NYTD (National Youth in Transition Database). He has used these experiences to develop himself into a messenger of hope- delivering a powerful, informative, and entertaining experience every time he grips a microphone.

shy!!! is a producer from Shively, Louisville, Kentucky and if you've been paying attention to what's coming out of this city, his name keeps showing up. A placement on Jack Harlow's JACKMAN. Executive production credits. A beat tape in whatuuseeisallreal!!! that moves with the precision and vision of a full film. And all of it rooted in a philosophy of sound that traces back to J Dilla, community, and a deep respect for the craft.In this conversation, Chris and shy!!! talk about growing up in Shively, what it means to find yourself in the process of making music, the blur between discovering a beat and creating one, and how consciousness itself plays a role in what ends up on the track. They also get into the Louisville scene, collective building, and what 2026 is shaping up to be.Conversations With Carswell is produced by Carswell Media Group.

Host Nate Wilcox returns with cohorts Eugene S. Robinson, lead singer of the art-punk band Oxbow and veteran entertainment attorney Alexei Auld to continue their discussion of Netflix' Hip Hop Evolution. This week, they look at a new generation of producers who emerged in the late 1990s and early 2000s: Virginia's The Neptunes and Timbaland & Missy Elliott, Chicago's Kanye West and Detroit's J Dilla. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we celebrate 20 years of J Dilla. It's been 20 Years since his passing and we wanted to chop it up about what made J Dilla Legendary. Go Check out our Music Listen to WordPlay T. Jay's Music - https://youtube.com/@wordplaytjay Listen to Icarus Gray's Music - https://youtube.com/@IcarusGray Try our Sponsors Opus Clip - https://opus.pro/?via=wptj Ground News - 40% off - https://check.ground.news/wptj SubmitHub - https://submithub.com/coupon/wordplaytjay Amazon Music Unlimited - https://tryamazonmusic.com/Qy5x96 Watch Us On YouTube: https://www.youtube.com/@NoRhymeorReasonPodcast Follow Us on Social Media Follow Icarus Gray - https://instagram.com/icarus_gray Follow WordPlay T. Jay - https://instagram.com/wordplaytjay

"Algorithms can't silence the beat of the brave..." - Chuck D This one has been a challenge to get together in time (thanks Numa Pompilius), but here we are! We've got J Dilla and Big L in the mix (dropped the ball on a Big Pun record that went missing

Vu sur Beatume 192 : Spéciale Sampleur-samplé x J Dilla Émission spéciale Sampleur-samplé x J Dilla Hommage à James Dewitt Yancey (7 février 1974 – 10 février 2006) aka J Dilla, producteur visionnaire du groupe Slum Village et du crew des Soulquarians. Nous revisitons une partie de ses productions mais surtout les morceaux originaux qu'il a diggé dans la soul et la funk, pour les […] Cet article provient de Radio AlterNantes FM

A new song from Slowe. A wonderful track from Augustin Coombe. Broken Beat from Rosie From the Block, IZCO feat Camille Munn and KASIA. Dancefloor Beats from Mr Scruff, Lovellious and Chris Bangs. Drum & Bass from Calibre remixing Sun Ra Arkestra, Peshay and S.P.Y. Rap from Salimata and Natives From Da Undaground feat Crystal Clear (co-produced by J Dilla). Plus plenty more music treats.

Full show: https://kNOwBETTERHIPHOP.com Artists Played: unselftitled, Yasiin Bey, Mos Def, conshus, E-TURN, J DILLA, CYNE, Nujabes, Minmi, Alexis Taylor, Lola Kirke, Travisty the Lazy Emcee, DJ Kawon, Curtis Harding, MIGHTYHEALTHY, Sankofa, Say She She, Odell, MidaZ the BEAST, King Owusu, Pachakuti, young.vishnu, Substantial, Stacy Epps, Blu, Miguel, Paradox, DJ Sean P, Adam and the Flood, phantomshino, Shad, Shing02, Samm Henshaw, Bilal, Pete Rock, Jake Palumbo, Psycho Les, Q-Unique, OutKast, GOODie MOb, IMAKEMADBEATS

Before the legend, before the mythology... What was it really like recording with J Dilla in the early Detroit days? Then I sit down with Beej to remember the studio sessions, the sound, and the energy of that time. A story about music, friendship, and a moment we didn't know would become history.Stay connected:* YouTube - https://www.youtube.com/@shannoncasonstoryteller* Instagram - https://www.instagram.com/shannoncason/* Twitter - https://twitter.com/shannoncason* Facebook - https://www.facebook.com/ShannonCasonTalks* TikTok - https://www.tiktok.com/@shannoncasonSupport the stories:* Patreon - https://www.patreon.com/shannoncason* CashApp - https://cash.app/$ShannonCason* PayPal - https://www.paypal.com/paypalme/homemadestories1* Merch & more - https://www.shannoncason.com/Supporters get a mention on the next Homemade Stories Podcast! Hosted on Acast. See acast.com/privacy for more information.

Been awhile since I've done a J-Dilla dedication, thought I'd pull a few favorites and related tracks / covers from the crates for you all. All praise due! Tracklist: Hugh Hopper, Something for the People, Macy Gray, Visioneers, The Roots, Carlos Nino Miguel Atwood-Fergueson Georgia Muldrow, Jaubi

MAGZ FM 536 Simha - Frequency Bias Simha - Losing Focus Daykoda - Green Leaves fT Block Mameli Takatsuki Experiment - Aliens Dancefloor Takatsuki Experiment - My Shiny Sheep Scratchclart - 2 People ft Calista Kazuko + Paris Cesvette Silat Beksi - Break The Wall Merle - Fannie Likes 2 Dance Scratchclart - Black Gold Of The Sun ft Zinzile, Scotti Dee, Omagoqa, State OFFF, Mike Patrick, Junior Bailey & Dad La Note - Laboratorium Vice Beats - Breathe with Molly Upton Gabriel Teodros - Violent State J. Cole - What If Mr El - Prince Essassani Naima Farao - Vortex Amara Liora - Velocity Luther Vandross - Only Human Unknown Artist - Shape Shifting Unknown Artist - Wrong Side Prozack Turner - Leisure Rules (prod. by J Dilla)

Sean runs through his picks for the 10 most underrated songs in J Dilla's production catalog. (Note: this is an updated take on 2024's 'Making Dill-Matic' episode) ⁠Patreon.com/thequestionshiphop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠questionshiphop.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/thequestionshiphop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The Questions Hip-Hop: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sean Kantrowitz: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠

The Crew Back on SuperBowl Sunday to talk this wrestling shit from CM Punk vs Roman Reigns promo, to AeW PUTTING ON BETTER SHOWS AS OF LATE!Nkb420, Dotman211,and 3D With The Stats host a weekly discussion on Monday Night Raw, NXT, Friday Night Smackdown, AEW Dynamite, Rampage, and Collision. Enjoying the finest marijuana and alcoholic spirits, they delve into rumors, new signings, contract negotiations, and aspects of pop culture such as politics, music, and fashion. It's proclaimed as the greatest wrestling podcast in the world! #Nkb420 #Dotman211 #3dWitThaStatsss #SpoilerBear #HazeHopsnTurnbuckles #631Entertainment #Podcast #Apple #Spotify #wrestling #AEW #WWE #TNA #NJPW #ROH #NachoManStonedHabits #merch #VIRAL #YOUTUBE #TIKTOK #TIKTOKWRESTLING #YOUTUBEWRESTLING #WRESTLINGPODCAST #FYP #EXPLOREPAGE Hosted on Acast. See acast.com/privacy for more information.

(00:00:00) Frank Zappa - Burnt Weeny Sandwich / 1970 (00:34:16) Queensrÿche - Rage for Order / 1986 (01:07:12) J Dilla - Donuts / 2006

Happy Heavenly Birthday James Dewitt Yancey AKA Jay Dee AKA J Dilla.  It's been 20 years since we lost one of the most innovative and influential music producers of our time.   In our annual tradition on this day, we pay tribute to the life and work of J Dilla. #TurnItUp

Madlib bygger en katedral medveten om att han själv inte kommer att få uppleva slutförandet. Tidslinjen sträcks ut i hans musik som är full av lekfullt genrehoppande och innovationer. Lyssna på alla avsnitt i Sveriges Radios app. Madlib samlar själar och gör collage av viskningar och skuggor. Ger det förgångna mening och ett nytt liv när han hittar outforskade vägar i originalmusiken. Det handlar bland annat om Madlibs klassiska samarbeten som albumen med syskonsjälarna J Dilla (Jaylib) och MF Doom (Madvillain) samt den otippade alliansen med Freddie Gibbs. Efter Dillas bortgång gick Madlib in för allt ännu hårdare, och drog sig undan när han förfinade en ordlös kommunikation. Bilderna på omslaget till 2005-års album ”The further adventures of Lord Quas”, som kom nio månader innan Dillas död, hör ihop med ”Donuts”. J Dilla i fönstret medveten om sitt öde uppmanar Madlib att fortsätta göra sin grej, ”freak out”. Det ser ut som en överenskommelse mellan musikerna. Världen brinner och Dilla försvinner, medan Madlib lever vidare och förstärker viljan att experimentera hos såväl utövare i underjorden som hos mer kommersiella artister.Den andra och sista delen är baserad på två möten med Madlib. Mats Nileskär intervjuar även Peanut Butter Wolf, MF Doom, Freddie Gibbs, Cut Chemist, DJ Shadow, Oh No, Dudley Perkins, Georgia Anne Muldrow, Dur-Dur Band, Ata Kak och Large Professor.

Madlib är den ende som finns kvar av den heliga treenigheten. Lyssna på alla avsnitt i Sveriges Radios app. Medan musiker försöker hinna ifatt J Dilla och MF Doom reser Madlib vidare i sitt beatuniversum, fullt upptagen med att förändra föreställningen om det förgångna för framtidens musikälskare.Människor som mött honom nämner hans inbundna och tystlåtna personlighet. Erykah Badu säger att Madlib är så begåvad att det förmodligen gjort honom galen. Namnet är talande - mad liberation. Musiken blir en ordlös befrielse.När en av hiphopens mest mytomspunna och stilbildande producenter väl känner för att prata, vilket inte är så ofta, väljer han sina ord sparsamt och nästan lika noggrant som han selekterar samplingarna. Madlib påstår att han ibland tillbringar tre dagar i sträck i studion utan sömn, utan att förflytta sig från samplern och vinylhögen. Förmodligen färdas han någonstans.Den första delen av två bygger på två möten med Madlib. Mats Nileskär intervjuar även Peanut Butter Wolf, Oh No, Prince Paul, Randy Muller, Kashif, Bob James och Freddie Gibbs.

Episode 97: Robert Glasper. The career-defining, three hour deep dive with one of the most influential musicians of our time. In this conversation, Robert Glasper walks through his entire journey, from his upbringing and early musical foundations to becoming a Grammy-winning pianist, producer, composer, and cultural architect who reshaped the relationship between jazz, hip hop, and R&B. This is the most expansive interview Robert has ever done. He breaks down how he became the Robert Glasper we know and love, how he developed his voice, how to get gigs (and how to keep them), and how he built a meaningful career in music. He speaks openly about his philosophies on collaboration, artistry, leadership, and longevity, offering invaluable lessons for us all. The conversation includes rare stories about him with J Dilla, behind the scenes stories about working with Kendrick Lamar and Terrace Martin on To Pimp a Butterfly, including the creation of These Walls and the collaborative environment that defined that era. He reflects on his vision for Black Radio and how working with Erykah Badu led to their version of Afro Blue, one of the most iconic recordings of his career. Robert also discusses scoring the Miles Davis biopic Miles Ahead and getting to go through the Miles vault! He shares stories and lessons involving Quincy Jones, Herbie Hancock, Kenny Garrett, Terrace Martin, Bilal, Chris Daddy Dave, Lalah Hathaway, Thundercat, and many others. We talk about life lessons, fatherhood and integrity, He shares messages directly to singers and musicians about preparation, confidence, and showing up fully in every room. We also touch on the future of music and AI. This conversation is a complete document of a modern master artist reflecting on his life, career, and legacy in real time. And we have 100 laughing attacks while doing it. Here's my conversation with the great, Robert Glasper! Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. Big thanks to our friends Moises.ai for supporting the show! If you need stems, they're the best in the game. Check them out! Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Become a Patreon Member to stay in the loop as we post Patreon-only exclusive content, Zoom hangs, invite only events, and discussions about music and music careers. https://www.patreon.com/gowithelmo https://www.instagram.com/gowithelmo/ Learn more about your ad choices. Visit megaphone.fm/adchoices

CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription.Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what's rained into our brains. On our latest installment, filmmaker and Zohran Video Guy Anthony DiMieri joins us to talk to tell us about the wild twists and turns of his career as an indie filmmaker turned key contributor to the Zohran & SubwayTakes cinematic universes, dark woke, and why everyone is obsessed with Geese. We're removing the paywall for the next week so you can give it a listen.You'll also get an invite to our second reading group meet-up: a discussion of Richard Barbrook and Andy Cameron's seminal 1995 year essay, “The Californian Ideology,” and Fred Turner's recent article for The Baffler, “The Texan Ideology.” That's going down on Sunday, January 11.In 2005, the music and culture critics Simon Reynolds and Mark Fisher (RIP) began using the term hauntology — a riff on “ontology” — to describe an emergent genre in UK music, built from archival recordings from post-war England, vinyl crackle, and haunted, elegiac atmospherics. (Think: Burial, The Caretaker, and the eerie catalog of the label Ghost Box.) They borrowed the term from Jacques Derrida, who used it to describe a present haunted by futures that had never arrived; Reynolds and Fisher heard that idea vibrating through a generation of musicians excavating Britain's cultural memory.Fisher explored hauntology's political dimension, rooting the movement in a longing for Britain's pre-Thatcherite social democratic past and an affection for cultural touchstones like the BBC Radiophonic Workshop, Brutalist architecture, and films like The Wickerman. Reynolds, meanwhile, mapped its musical lineage—back to '90s hauntology predecessors like Boards of Canada and Broadcast, and across the pond to J Dilla-era hip-hop and underground movements like freak folk, hypnagogic pop, and chillwave.A recent CUJO reading group on the topic inspired us to invite Simon—the author of books like Rip It Up and Start Again, Retromania, and Futuromania (listen to our ep about it!)—to help us mark the 20th anniversary of hauntology and explore what it has to teach us about mobilizing the culture of the past in a way that feels meaningful and even forward-lookingSimon joins us to dig into the cultural factors that gave rise to hauntology, the 21st-century fetish for obsolete media, and the differences between hauntology and simple nostalgia or “retro.” We also talk about the pasts that continue to haunt us—from rave culture to Marxism—and he gives us a sneak peek at his forthcoming book, Still in a Dream: Shoegaze, Slackers and the Reinvention of Rock, 1984–1994, arriving in 2026.Listen to our HAUNTOLOGY PLAYLIST on Apple Music and YouTubeRead more of Simon on hauntology in Retromania: Pop Culture's Addiction to Its Own Past and over at ReynoldsRetroKeep up with Simon and his writing on blissblogFollow Simon on XAdditional reading:Jacques Derrida, Specters of Marx, The State of the Debt, the Work of Mourning and the New International, 1993.Mark Fisher, “October 6, 1979: Capitalism and Bipolar Disorder,” 2005.Simon Reynolds, “Haunted Audio, a/k/a Society of the Spectral: Ghost Box, Mordant Music, and Hauntology,” director's cut of an article in the November 2006 issue of The Wire.Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology, and Lost Futures, chapter 2, 2014. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

Tell Us How You Really FeelThe needle drops and the room changes—horns breathe, drums loosen, and a sampler starts talking back. We dive into the living thread between jazz and beat culture, from Congo Square and brass bands to dusty chops, off-grid drums, and the global scenes building tomorrow's standards today. The journey moves through the roots—rebellion, soul, spiritual release—into the eras of big band glory, commercial decline, and the underground that kept the flame alive until hip-hop cracked open the vault and let the swing back out.We explore how producers like DJ Premier, Pete Rock, J Dilla, Madlib, and Nujabes reintroduced jazz aesthetics to a new generation, turning horn riffs, Rhodes chords, and brushed cymbals into modern language. Along the way, we spotlight the cities and crews shaping the current wave: London's Yussef Dayes, Kamaal Williams, and Shabaka Hutchings; LA's Kamasi Washington and Terrace Martin; global innovators from Italy, Austria, Japan, and beyond. Labels and collectives like Jazz Is Dead bridge elders and explorers, proving the tradition evolves best when it's shared.Between records, we trade stories and facts that link technique to technology—Miles facing the band for deeper communication, Coltrane's relentless practice, Raymond Scott's early electronic machines, and how big band sessions birthed mic placement and room capture approaches that shaped modern studios and DAWs. Herbie Hancock reminds us that jazz is conversation: musicians, audience, and energy in constant exchange. Beat culture carries that forward—looping, bending, and improvising with machines as instruments. Ride with us, discover new artists and essential beat tapes, and feel the continuity: jazz never died; it reincarnated in the pads.If you felt the groove, subscribe, rate, and share with a friend. Drop a comment with your favorite jazz-sampled track and hit our Linktree to buy a tee shirt or buy us a coffee. Let's keep the lineage loud. Support the showEdited, Mixed and Mastered by GldnmndPodcast Website Link: The Rec Show PodcastSubscribe to Our YouTube Channel: Press Here

https://youtu.be/fkirBLeJleQSee omnystudio.com/listener for privacy information.

On this week's episode, we look at who is eligible for the first time for next year's class of the Rock & Roll Hall of Fame.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayLIST OF ARTISTS WHO ARE ELIGIBLE FOR THE FIRST TIME FOR THE ROCK AND ROLL HALL OF FAME INDUCTION CLASS OF 2026:A Camp, Alicia Keys, As I Lay Dying, Avantasia, Avenged Sevenfold, Bayside, Ben Frost, The Black Dahlia Murder, Black Rebel Motorcycle Club, Blake Shelton, The Blow, Brand New, Breaking Benjamin, British Sea Power, Broken Social Scene, Bubba Sparxxx, Chromatics, Cloud Cult, Comets On Fire, The Constantines, The Coral, Cut Copy, D-Fuse, Dabrye, Damien Rice, Daniel Bedingfield, David Guetta, The Decemberists, Dirty Vegas, Disarmonia Mundi, Dresden Dolls, Dungen, Eclipse, El-P, Ex Models, Finch, Flobots, Fruit Bats, Gemini, Gojira, Gym Class Heroes, Hot Chip, India.Arie, J Dilla, Jack Johnson, Jon Hopkins, Josh Groban, Kaskade, Liars, LP, M83, Mastodon, mewithoutYou, Midlake, Miranda Lambert, Municipal Waste, N.E.R.D., The National, Norah Jones, Orgone, Peter Bjorn and John, PSY, Ray LaMontagne, Reigning Sound, RJD2, Sharon Jones & the Dap-Kings, Shearwater, Showtek, Solar Fields, Starsailor, Stephen Malkmus, The Streets, The Strokes, T.I., Tenacious D, Tiësto, Tim Hecker, Tinariwen, Tomahawk, The Vines, The Walkmen, Will.i.am, The Word, & the Yeah Yeah Yeahs.

Episode 78 du podcast par Loukoum, le retour ! (@loukoumzer) Loukoum - Derrière ce nom, un clin d'œil à 'Loukoums' de DJ Mehdi, une mixtape hommage à l'album 'Donuts' de J Dilla. Considéré par Mehdi comme un projet conceptuel fait d'inachevés, il rassemble des inspirations nées lors de ses différents projets passés. Toujours un pied dans le rap, un autre dans la musique électronique. À sa manière, Loukoum suit cette même logique : après près de 8 ans à raconter le rap français dans un média spécialisé, elle passe derrière les platines pour assembler ses propres inspirations. Si elle a grandi avec le hip-hop, son amour pour la house et la techno n'a jamais été loin, nourri par la scène de Chicago & Detroit (Robert Hood/Floorplan, Inner City, Larry Heard) et les nouvelles sonorités UK (Mark Blair, Mall Grab, Lemtom). Aujourd'hui, elle mélange ces influences dans des sets où la House reflète l'énergie brute du rap, avec toujours cette idée en tête : faire danser en racontant une histoire. Vous pouvez également retrouver ce podcast sur Apple Podcasts et sur YouTube. APRODMEDIA RADIO www.instagram.com/aprodmediaradio www.youtube.com/@aprodmediaradio/ LOUKOUM @loukoumzer https://www.instagram.com/loukoumusic/

On September 26, 1998, a video game made its debut in Japanese arcades. It was over seven feet tall and weighed just over 900 pounds. It had no characters, no story, no quests to fulfill or bosses to beat. What it had was a metal platform on which you were supposed to stand, put your feet into the right place at the right time, and dance. Join two music critics, long-ago players, and Sota Fujimori fans as they take you on the astonishing journey through the artists, influences, and innovators of Dance Dance Revolution, a game two and a half decades in the making and still going -- in homes, arcades, and expos. From its unexpected appearance to its social heyday to its reappearance in the American market, DDR has taken many forms -- not all of them sanctioned by Konami. It has spawned community, creativity, competition, lawsuits, 1,000+ songs that range from wacky to tacky to beautiful, and yes, a lot of dancing. While we were all leaning on the back bar, working up a sweat, DDR managed to change the world. Jessica Doyle has a Ph.D. in city planning and a love for writing about the connections between pop music, globalization, and the built environment. She cares for her family in the Atlanta suburbs. Jordan Ferguson is the author of J Dilla's Donuts, #93 in the 33 1/3 series of record guides, and co-host of the Geekdown, a podcast about fandoms. He lives and works in Toronto, Canada. Find him online @jordan_ferguson. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On September 26, 1998, a video game made its debut in Japanese arcades. It was over seven feet tall and weighed just over 900 pounds. It had no characters, no story, no quests to fulfill or bosses to beat. What it had was a metal platform on which you were supposed to stand, put your feet into the right place at the right time, and dance. Join two music critics, long-ago players, and Sota Fujimori fans as they take you on the astonishing journey through the artists, influences, and innovators of Dance Dance Revolution, a game two and a half decades in the making and still going -- in homes, arcades, and expos. From its unexpected appearance to its social heyday to its reappearance in the American market, DDR has taken many forms -- not all of them sanctioned by Konami. It has spawned community, creativity, competition, lawsuits, 1,000+ songs that range from wacky to tacky to beautiful, and yes, a lot of dancing. While we were all leaning on the back bar, working up a sweat, DDR managed to change the world. Jessica Doyle has a Ph.D. in city planning and a love for writing about the connections between pop music, globalization, and the built environment. She cares for her family in the Atlanta suburbs. Jordan Ferguson is the author of J Dilla's Donuts, #93 in the 33 1/3 series of record guides, and co-host of the Geekdown, a podcast about fandoms. He lives and works in Toronto, Canada. Find him online @jordan_ferguson. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

On September 26, 1998, a video game made its debut in Japanese arcades. It was over seven feet tall and weighed just over 900 pounds. It had no characters, no story, no quests to fulfill or bosses to beat. What it had was a metal platform on which you were supposed to stand, put your feet into the right place at the right time, and dance. Join two music critics, long-ago players, and Sota Fujimori fans as they take you on the astonishing journey through the artists, influences, and innovators of Dance Dance Revolution, a game two and a half decades in the making and still going -- in homes, arcades, and expos. From its unexpected appearance to its social heyday to its reappearance in the American market, DDR has taken many forms -- not all of them sanctioned by Konami. It has spawned community, creativity, competition, lawsuits, 1,000+ songs that range from wacky to tacky to beautiful, and yes, a lot of dancing. While we were all leaning on the back bar, working up a sweat, DDR managed to change the world. Jessica Doyle has a Ph.D. in city planning and a love for writing about the connections between pop music, globalization, and the built environment. She cares for her family in the Atlanta suburbs. Jordan Ferguson is the author of J Dilla's Donuts, #93 in the 33 1/3 series of record guides, and co-host of the Geekdown, a podcast about fandoms. He lives and works in Toronto, Canada. Find him online @jordan_ferguson. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

A quality track from the new Jamie Woon album. You need to check the tune from Leif Maine & Lex Amor & Wu-Lu & L.A. Salami. Anti-War Reggae / Dub form Robert Ffrench reissued by VP / Greensleeves. Soul from The Quantic Soul Orchestra feat Alice Russell covering D'Angelo (the Red Astaire version) and Wanda Felicia. Unique style percussive styles from Gasper Lawal on Strut. Rap from T-Love (produced by J Dilla) and Freestyle Fellowship (R.I.P P.E.A.C.E who sadly passed away recently). A great Drum and Bass tune from Trakker on Bristol's Sofa Sounds and S.P.Y's classic remix of Zero7 feat Sophie Barker. Plus plenty more music treats. 

Madlib bygger en katedral medveten om att han själv inte kommer att få uppleva slutförandet. Tidslinjen sträcks ut i hans musik som är full av lekfullt genrehoppande och innovationer. Lyssna på alla avsnitt i Sveriges Radio Play. Madlib samlar själar och gör collage av viskningar och skuggor. Ger det förgångna mening och ett nytt liv när han hittar outforskade vägar i originalmusiken. Det handlar bland annat om Madlibs klassiska samarbeten som albumen med syskonsjälarna J Dilla (Jaylib) och MF Doom (Madvillain) samt den otippade alliansen med Freddie Gibbs. Efter Dillas bortgång gick Madlib in för allt ännu hårdare, och drog sig undan när han förfinade en ordlös kommunikation. Bilderna på omslaget till 2005-års album ”The further adventures of Lord Quas”, som kom nio månader innan Dillas död, hör ihop med ”Donuts”. J Dilla i fönstret medveten om sitt öde uppmanar Madlib att fortsätta göra sin grej, ”freak out”. Det ser ut som en överenskommelse mellan musikerna. Världen brinner och Dilla försvinner, medan Madlib lever vidare och förstärker viljan att experimentera hos såväl utövare i underjorden som hos mer kommersiella artister.Den andra och sista delen är baserad på två möten med Madlib. Mats Nileskär intervjuar även Peanut Butter Wolf, MF Doom, Freddie Gibbs, Cut Chemist, DJ Shadow, Oh No, Dudley Perkins, Georgia Anne Muldrow, Dur-Dur Band, Ata Kak och Large Professor.

Once A DJ is brought to you by:https://www.vinylunderground.co.uk - 10% off using code onceadj10https://www.sureshotshop.com/ - Record adapters (including customs) & accessorieshttps://myslipmats.com/ - Custom and off the shelf Slipmats, dividers and more.Once A DJ is a https://remote-ctrl.co.uk productionOther ways to support the showFollow the show on Spotify or Apple PodcastsAny feedback or questions? Hit up the Once A DJ Instagram PageSubscribe to the Once A DJ PatreonBuy your Once A DJ Sureshot 45 adapter clampsEmbarking on a profound exploration of the multifaceted artistry of Brian Cross, also known as B+, this episode delves into his pivotal contributions to the realms of hip hop and DJ photography. As we dissect his significant works, we illuminate the intricate interplay between music and visual narrative, particularly focusing on his celebrated projects such as the Keeping Time and Brazilian Time documentaries. We will traverse the vibrant landscape of hip hop culture, examining notable moments like the Beat Battle between Will I Am and Thess One, while also paying homage to a luminary like J Dilla through the Sweet for My Dukes project, an endeavor that transcends mere tribute to achieve a resonant eulogy. Our discourse invites DJs and enthusiasts alike to engage with the sonic and visual tapestry that B+ has masterfully woven, promising insights that are as enlightening as they are entertaining. Prepare to immerse yourself in a conversation that is not only a celebration of artistry but also a testament to the enduring impact of hip hop culture on visual storytelling.

Two Detroit titans for the price of one this month on Groovement - I was hanging with Guilty at the end of August when he was over for Jimi Goodwin's NightjaR gig, then we did a show at the Rat & Pigeon the following day, all courtesy of Broken Wing who brought him over to the UK. Phat Kat was here a year ago, performing at the sadly-missed Hip Hop Chip Shop , and we sat down before hand with Blacksmith, who was also on the line up. It's humbling to say the least to be in the presence of either of these two, let alone have them both on one radio show, so I extend my sincere thanks to both of them for their time and energy. Obviously they're both inexorably linked with the legacy of J Dilla, and we talk about him too, but they both very much fully carry the weight of their own art. Manchester producer and longtime friend of Groovement, Mecca:83, has both of these cats on his new album, so let's start with that track. DJAY ANA MAY on the co-hosting duties! 

Madlib är den enda som finns kvar av den heliga treenigheten. Lyssna på alla avsnitt i Sveriges Radio Play. Medan musiker försöker hinna ifatt J Dilla och MF Doom reser Madlib vidare i sitt beatuniversum, fullt upptagen med att justera föreställningen om det förgångna för framtidens musikälskare.Människor som mött honom nämner hans inbundna och tystlåtna personlighet. Erykah Badu säger att Madlib är så begåvad att det förmodligen gjort honom galen. Namnet är talande - mad liberation. Musiken blir en ordlös befrielse.När en av hiphopens mest mytomspunna och stilbildande producenter väl känner för att prata, vilket inte är så ofta, väljer han sina ord sparsamt och nästan lika noggrant som han selekterar samplingarna. Madlib påstår att han ibland tillbringar tre dagar i sträck i studion utan sömn, utan att förflytta sig från samplern och vinylhögen. Förmodligen färdas han någonstans.Del 1 bygger på två möten med Madlib. Mats Nileskär intervjuar även Peanut Butter Wolf, Oh No, Prince Paul, Randy Muller, Kashif, Bob James och Freddie Gibbs. Den andra delen publiceras i oktober.

When does Afro Blue and Smells Like Teen Spirit belong on the same record? When it's a Robert Glasper album! In 2012, Glasper's Black Radio brought together artists like Erykah Badu to bring a jazz standard, Afro Blue, back into the popular music canon. Black Radio hit #1 on the jazz charts, while simultaneously reaching #4 on the hip-hop R&B charts and #15 on the Top 200. The Blue Note pianist has been bending genres since the 90s, bringing together the best of traditional jazz and weaving it seamlessly with R&B, hip-hop, soul and rock & roll. And it all fits, because Glasper is equally at home in all of these categories. He grew up listening to all kinds of music, like Nirvana, Billy Joel, Busta Rhymes -- everything. Black Radio, he says, was a way to put his "life on wax". Rob Harvilla from 60 Songs to Explain the 90s: The 2000s joins Adam and Peter to dive into what makes this album great, and how it refutes from any attempt to categorize it. From the J. Dilla Influence, to Casey Benjamin's album-defining flute, to the Erykah Badu of it all, you'll never hear this album the same way again.And this album inspired what is possibly our best YHI outro yet. Let us know if you agree!

Award-winning Marvel cover artist: Mike Del Mundo stops by the show to talk about his brand-new book: The Marvel Art of Mike Del Mundo.  We talk about landing his first gig with Marvel after impressing editor C.B. Cebulski in 2010, collaborating with hip-hop heavyweights like Freddie Gibbs on Alfredo 2, creating legendary Marvel Hip-Hop Variant covers, and his viral J Dilla artwork. Plus, Mike reveals insights into his creative process with writer Jonathan Hickman, the story behind some of his all-time favorite covers, and the artists who inspire him most. The campaign for the book goes live on August 12th. Back it here:  https://www.kickstarter.com/projects/cloverpressart/the-marvel-art-of-mike-del-mundo-a-deluxe-art-book-and-more?ref=dxywl2 Watch the uncut video version of this episode here: https://youtu.be/XXPlUVRU0hs LINKS: Subscribe to The Short Box Podcast YouTube channel for video episodes!Join our Patreon Community, and get access to bonus episodes, free comics, and other rewards! Try a FREE 7-day trial: HERETake your comic shopping experience to the limit, by shopping online at Gotham City Limit!The Schiller Kessler Group  We read Fan Mail, send us some! Proudly sponsored by Gotham City Limit!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showREACH OUT!

Full show: https://kNOwBETTERHIPHOP.com Artists Played: conshus, DJ BMF, J Dilla, Teddy Pendergrass

  Welcome back to another episode of Hip Hop What Ifs! In this episode, we dive deep into the life and legacy of the legendary J. Dilla, aka James Yancey. Join hosts [Speaker 1] and Kyle as they explore the profound impact J. Dilla had on hip hop and beyond, from his early days with Slum Village to his groundbreaking production work that shaped the sound of a generation.

Lock in to a groove and turn the vibes up to "Immaculate," this week the EarWax crew dives into The Roots' "Things Fall Apart."Cody and Hilary touch on the Soulquarians, and the sessions that resulted in some of the most stunning work of this era. "Things Fall Apart" was the result of two batches of sessions - one a host of Philadelphia community members and friend so the group. The next at Electric Lady Studios, with folks like Lady B, Mos Def, and J Dilla in the room."Things Fall Apart" is one of those records that you've heard, even if you haven't. Its thumbprint is all over contemporary hip-hop, soul, jazz, and R&B. With the group ready to break through, they created something that did more than break them, it locked them in as legends.Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

All the way from Brussels, Belgium - please welcome ECHT! bassist FEDERICO PECORARO to episode 084! An honor and privilege to connect across the world with a member of one of the most exhilarating bands I've had the good fortune of stumbling upon in many, many moons. An idiosyncratic quartet since 2017, ECHT! (Brusselier for ‘The Real Thing') is remarkably adept at reverse engineering electronic music, a modus operandi of progressive-minded live instrumentation unleashed on a lava-like level beyond your wildest imagination. These brilliant lads blend a malevolent concoction of 'Belgian Trap Jazz' that oscillates through soundscapes of sonic revolution. On March 7, 2025 ECHT! will release their highly-anticipated third full-length LP Boilerism via the Sdban Ultra label. 00:00 - episode 084 preview 03:40 - The Upful Update 07:25 - introducing FEDERICO from ECHT! 13:30 - interview w/ Federico Pecoraro [72 min] 1:24:50 - afterglow > ViBE Junkie Jamz Your humble narrator randomly discovered ECHT! via debut LP INWANE, during a lysergic intercontinental deep dive in early January 2022. In the interim three years, the band has been omnipresent in my ear goggles, and I've enthusiastically evangelized the mighty ECHT! everywhere I've set foot, copious festivals and dancefloors from coast to coast . Thanks to Seb at Sdban Ultra, I finally had the pleasure to conversate with ECHT! low-end technician Federico via the interwebs, 5pm in Brussels, 8am here in the East Bay.  For over an hour, we unpack the bombastic unicorn magic that makes ECHT! tick tick boom! Including - but not limited to: new LP Boilerism; embryonic band origin story; the concept/execution of the ECHT! brand of kaleidoscopic sound art; four musicians moving as one organism; the Brussels sound/scene; influences/inspirations from J Dilla to Jonwayne, Skee Mask, Aphex Twin, and even D'Angelo(!); the challenging realities of touring internationally; bouncing back from injuries; programming a live set; their individual and collective creative process, keeping the music in constant evolution; sick side projects, and so much more. ECHT! bio A **deep bow** of gratitude to Federico, the members of ECHT!, and Seb at the label, for making this mothership connection possible. Large Up all dearly beloveds for tuning in to *The Upful LIFE Podcast*. - bg ViBE Junkie Jamz ECHT! 1. Chris Dave & Daniel Crawford - “Takin Orders” > Ashley Morgan - “DOUBLESIZE” > De La Soul - “The Bizness” (Brewmix vol.1, 2021) 2. “Charlier” - INWANE 2021 3.“Boilerbeek” - Boilerism 2025   ECHT! on IG ECHT! on YT ECHT! on Bandcamp Brewmix vols. 1-3 (audio)   Send B a few dollas for makin you holla! EMAIL the SHOW PLEASE LEAVE A REVIEW on Apple Podcasts Listen on Spotify Theme Song: "Mazel Tov"- CALVIN VALENTINE

As Senior Pastor of Trinity United Church of Christ in Chicago, Otis Moss carries the torch for generations of church and civil rights leaders, including his own father, a regional director in the SCLC, and a friend of Dr. Martin Luther King. But it is his late sister Daphne whose influence most impacts his ministry and social advocacy. A brilliant young woman who struggled with schizophrenia, Daphne introduced a young Otis to what he calls “the continuum” – a spirituality born of poetry, literature and jazz that has woven its way through our history. Drawing as much from the beats of J Dilla as from the speeches of Dr. King; from the politics of Public Enemy as from the poetry of Langston Hughes; from John Coltrane and Miles Davis as from Reinhold Niebuhr and Abraham Joshua Heschel, Pastor Moss shares a timely, deeply personal story about the American jazz narrative — how a disparate and diverse people who are not supposed to make music together do — and do so beautifully.Music by Ryan Holladay and Jonathan Mouton. Follow Jonathan on Instagram: @entertainer4lyfeIf this episode resonates with you, we'd love to hear from you. Please take a moment to share your reflections by rating and reviewing Meditative Story in your podcast player. It helps other listeners find their way to the show, and we'd be so grateful.Each episode of Meditative Story combines the emotional pull of first-person storytelling with immersive music and gentle mindfulness prompts. Read the transcript for this story: meditativestory.comSign up for the Meditative Story newsletter: https://meditativestory.com/subscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.