ngl, when the book started, it was like, let's travel to the year 1700s talk about some european shyt and then sidetrack to some vaudeville shyt
'
i was like
this shyt is gentrified AF
and then it got good but then it kept on eluding dilla got a variation of lupus/aids from unprotective sex with strippers at the strip club
it did say dilla got sick after eating shyt from europe but basically said it was an aftereffect of not adapting to traveling/eating unaccustomed food
it said dilla was talking to the ghost of ODB before he died? about not taking the red bus?
the dilla doc said he was talking to his maker
it's eerie how proof and dilla died back to back...i thought death came in 3s, who was the 3rd or did the detroit music scene dodge a bullet with that one?
it kept on mentioning obscure jazz groups that did that 1 dilla cover that 1 time or academics who tried to quantify what dilla is doing -- you just feel it in your bones and soul if it's right, not just justify it on some biological metronome shyt...it kept on giving random people credit that barely have anything to do with dilla and was reachy at the end
half the time, it was like 'dilla's a genius, he programmed this in 15 minutes what it would have taken people a life time to do!'
and then don't really say what he did outside of using the newly coined buzzwords microrhythm and microtiming over and over again like a glorified anthony fantano 'review' reusing the word arpeggio, but how did it make you feel and why did he make it sound like that?
outside of saying it's late on the 1 and chasing the 3, the author explains it away as 'syncopation' or 'Aquarian energy' and calls it a day. he explains every other drama or paints the retrospect of events clearly but doesn't really involve himself to explain the music itself, and i felt that was lacking the whole time...and when the author side tracked to talk about kanye working on common's be album, i though he was going to go out his way to excuse himself to write a whole chapter about him like some common fanboy, ngl
i thought it would have a chapter about some technical shyt about the feel and the pattern recognition and the chops but it's just a simple biography outlining what happened. as long as the estate benefits, it's good
outside of the common reasoning that 'music is universal', i still don't understand how dilla got picked up by those bohemian beatniks so fast that his MPC got forwarded to the smithsonian in an otherwise cut throat industry undermined by shytty deals and racism, ran by white people who don't know talent when they hear it or they just capitalize on black trauma/minstrel show stereotypes or pitting blacks against each other to create a spectacle, like static major wrote for aaliyah and handed lil wayne a diamond record on a silver platter, where he also died to some rare ass disease and his legacy is still relatively unknown if it wasn't for his wife or shouted out as a lil wayne footnote...you can't just randomly cherry pick dilla to receive endless praise just for white people to have an extra excuse to make off-beat music and then throw the rest of black talent away, that shyt is fukking annoying