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Canis Temporal range: Miocene to Recent 9–0 Ma PreЄ Є O S D C P T J K Pg N [1]
Golden Jackal, Canis aureus
Scientific classification
Kingdom:	Animalia
Phylum:	Chordata
Class:	Mammalia
Order:	Carnivora
Family:	Canidae
Subfamily:	Caninae
Genus:	Canis Linnaeus, 1758
Species
Canis adustus †Canis apolloniensis †Canis armbrusteri Canis aureus †Canis cedazoensis †Canis dirus †Canis edwardii †Canis ferox Canis latrans †Canis lepophagus Canis lupus1 Canis mesomelas †?Canis primigenius Canis rufus Canis simensis   1 C. lupus also includes dogs, C. l. familiaris and dingos, C. l. dingo

Canis is a genus containing 7 to 10 extant species, including dogs, wolves, coyotes, and jackals, and many extinct species.

Timeline and Relationships (Tedford & Wang)

Wolves, dogs and dingos[link]

Wolves, dogs, and dingoes are subspecies of Canis lupus. The original referent of the English word wolf, the Eurasian Grey Wolf, is called Canis lupus lupus to distinguish it from other wolf subspecies, such as the Iranian Wolf (Canis lupus pallipes), the Arabian Wolf (Canis lupus arabs), or the Tibetan Wolf (Canis lupus chanco), which are probably more similar to the variety of wolf that was ancestral to the modern dog (Canis lupus familiaris).

Some experts have suggested that some subspecies of C. lupus be considered Canis species distinct from Canis lupus. These include Central Asia's Himalayan Wolf, and the Indian Wolf, as well as the North America's Red Wolf and Eastern Wolf.

The dingo (C. lupus dingo), from Australia, and the domestic dog (C. lupus familiaris) are also considered subspecies of Canis lupus, although they themselves are not commonly referred to or thought of as "wolves".^[2]

Coyotes, jackals, and "wolves"[link]

C. lupus is but one of many Canis species called "wolves", most of which are now extinct and little known to the general public. One of these, however, the dire wolf, has gained fame for the thousands of specimens found and displayed at the La Brea Tar Pits in Los Angeles, California.

The dire wolf is an example of the word "wolf" being applied loosely, i.e., to a canid which is not Canis lupus. Other examples include Canis simensis, which has undergone many popular name changes, as its intermediate morphology had caused some to think of it as a jackal or a fox; but current taxonomic and genetic consensus is reflected in its "official name", the Ethiopian wolf.

Canis species too small to attract the word "wolf" are called "coyotes" in the Americas and jackals elsewhere. Although these may not be more closely related to each other than they are to C. lupus, they are, as fellow Canis species, all more closely related to wolves and domestic dogs than they are to foxes, maned wolves, or other canids which do not belong to the Canis genus. The word "jackal" is applied to three distinct species of this group: Africa's side-striped (C. adustus), black-backed (C. mesomelas), and the golden (C. aureus) jackals, which can be found across northern Africa, southwestern and south-central Asia, and the Balkans.

While North America has only one small-sized species, the coyote (C. latrans), it has become very widespread indeed, moving into areas once occupied by wolves. They can be found across much of mainland Canada, in every state of the continental United States, all of Mexico except the Yucatán peninsula, and the Pacific and central areas of Central America, ranging as far south as northern Panama.

Etymology[link]

The name Canis means "dog" in Latin. The word canine comes from the adjective form, caninus ("of the dog"), from which the term canine tooth is also derived.^[3] The canine family has prominent canine teeth, used for killing their prey.

Gallery[link]

• 

  Gray Wolf (Canis lupus)

• 

  Domestic Dog (Canis lupus familiaris)

• 

  Dingo (Canis lupus dingo) (with familiaris as "domestic dog subspecies")

• 

  Red Wolf (Canis lupus rufus) (includes latrans admixture)

• 

  Eastern Wolf (Canis lupus lycaon (often includes latrans admixture)

• 

  Dire Wolf (Canis dirus) (extinct)

• 

  Ethiopian Wolf (Canis simensis)

• 

  Coyote (Canis latrans)

• 

  Golden Jackal (Canis aureus)

• 

  Side-striped Jackal (Canis adustus)

• 

  Black-backed Jackal (Canis mesomelas)

See also[link]

• Himalayan Wolf
• Indian Wolf
• List of Canis species

References[link]

lez:Жанавурар

James Dewitt Yancey (February 7, 1974 – February 10, 2006),^[1] better known by the stage names J Dilla, J Mukandila and Jay Dee, was an American record producer who emerged from the mid-1990s underground hip hop scene in Detroit, Michigan. According to his obituary at NPR.org, he "was one of the music industry's most influential hip-hop artists, working for big-name acts like A Tribe Called Quest, De La Soul, Busta Rhymes and Common."^[2]

Renowned producer Pete Rock placed J Dilla on his list of the top five producers of all time,^[3] while the editors of About.com ranked him #15 on their list of the Top 50 Hip-Hop Producers.^[4] Andy Kellman of Allmusic stated that—by 2004, after being active for well over a decade as a producer—J Dilla had accomplished enough to be considered "an all-time great."^[5] J Dilla made the "Elite 8" in the search for The Greatest Hip-Hop Producer of All Time by Vibe.^[6] Also, The Source placed him on its list of the 20 greatest producers in the magazine's twenty-year history.^[7]

Yancey's career began slowly. He has now become highly regarded, most notably for the production of critically acclaimed albums by Ghostface Killah, Raekwon, Common, Busta Rhymes, A Tribe Called Quest, The Pharcyde, and Erykah Badu. He was a member of Slum Village and produced their acclaimed debut album Fan-Tas-Tic (Vol. 1) and their follow-up Fantastic, Vol. 2.^[1]

In the early 2000s, Yancey's career as a solo artist began to improve; A solo album Welcome 2 Detroit was followed by a collaborative album with California producer Madlib, Champion Sound, which catalyzed the careers of both artists. Just as his music was becoming increasingly popular, Yancey died in 2006 of the blood disease TTP.

Following J Dilla's death, the hip hop community became centered upon his music and image.^[8] Many of the artists with whom Yancey worked and performed with recorded tributes, and a large group of followers voiced their support for the late musician. Yancey's music experienced a rebirth as the producer gained many times more listeners than he had during his life, partly due to media exposure. Though several posthumous albums have been released and others are planned, the amount of unreleased recordings by the producer remain somewhat undetermined. Yancey's estate has also been controverted.^[9]

Biography[link]

Early life[link]

James Yancey was the oldest of four children including a younger brother (Earl), a younger sister (Martha) and a younger brother, John, also a rapper/producer known as Illa J. The family lived in a house situated near McDougall and East Nevada, off E. 7 Mile in Detroit.^[10] He developed a vast musical knowledge from his parents (his mother is a former opera singer and his father was a jazz bassist). According to his mother, he could "match pitch perfect harmony" by "two-months old", to the amazement of musician friends and relatives.^[11] He began collecting vinyl at the age of two and would be allowed to spin records in the park, an activity he enjoyed tremendously as a child.^[11]

Along with a wide range of musical genres, Yancey developed a passion for hip hop music. After transferring from Davis Aerospace Technical High School to Detroit Pershing High School, he met classmates T3 and Baatin, and became friends with them through mutual love of rap battles. The three formed a rap group called Slum Village.^[12] He also took up beatmaking using a simple tapedeck as the center of his studio.^[1] During these teenage years he "stayed in the basement alone" with his ever-growing collection of records, perfecting his craft. He later told Pete Rock when they met years later that "I was trying to be you."^[13]

Early career[link]

In 1992, he met experienced Detroit musician Amp Fiddler, who was impressed by what Jay Dee was able to accomplish with such limited tools. Amp Fiddler let Jay Dee use his MPC, which he learned quickly. In 1995, Jay Dee and MC Phat Kat formed 1st Down, and would be the first Detroit hip hop group to sign with a major label (Payday Records) - a deal that was ended after one single when the label folded. That same year he recorded 'Yester Years EP' with 5 Elementz (a group consisting of the late Proof, Thyme and Mudd). In the year 1996, he formed the group Slum Village with T3 and Baatin, and recorded the group's debut, Fan-Tas-Tic (Vol. 1) in his home studio. Being released in 1997, the album quickly became popular with fans of Detroit hip hop, as well a gaining the attention of Q-Tip, who hailed the group as successors to A Tribe Called Quest. However, J Dilla felt uncomfortable with the comparison and often voiced it in several interviews.

"It was kinda fucked up [getting that stamp] because people automatically put us in that [Tribe] category. That was actually a category that we didn’t actually wanna be in. I thought the music came off like that, but we didn’t realize that shit then. I mean, you gotta listen to the lyrics of the shit. Niggas was talking about getting head from bitches. It was like a nigga from Native Tongues never woulda said that shit. I don’t know how to say it. It’s kinda fucked up because the audience we were trying to give to were actually people we hung around. Me, myself, I hung around regular ass Detroit cats. Not the backpack shit that people kept putting out there like that. I mean, I ain’t never carried no goddamn backpack. But like I said, I understand to a certain extent. I guess that’s how the beats came off on some smooth type of shit. And at that time, that’s when Ruff Ryders [was out] and there was a lot of hard shit on the radio so our thing was we’re gonna do exactly what’s not on the radio."^[14]

By the mid 1990s Jay Dee was known as a major hip hop prospect, with a string of singles and remix projects, for Janet Jackson, Pharcyde, De La Soul, Busta Rhymes, A Tribe Called Quest, Q-Tip's solo album and others. The majority of these productions were released without his name recognition, being credited to The Ummah, a production collective composed of Q-Tip and Ali Shaheed Muhammad of A Tribe Called Quest, and later Raphael Saadiq of Tony! Toni! Toné!. Under this umbrella, Jay did some of his most big name R&B and hip hop work, churning out original songs and remixes for Janet Jackson, Busta Rhymes, Brand New Heavies, Something For the People, trip hop artists Crustation and many others. This all came off the heels of Jay handling the majority of production on The Pharcyde's album Labcabincalifornia, released in the holiday season of 1995. Jay Dee's largest-scale feat came in 1997 when he produced Janet Jackson's Grammy winning single "Got 'til It's Gone" from The Velvet Rope. The song-writing credit and subsequent Grammy were both given to Jimmy Jam and Terry Lewis.

Performing career[link]

2000 marked the major label debut of Slum Village with Fantastic, Vol. 2, creating a new following for Jay Dee as a producer and an MC. He was also a founding member of the production collective known as The Soulquarians (along with Ahmir "Questlove" Thompson, D'Angelo and James Poyser amongst others) which earned him more recognition and buzz. He subsequently worked with Erykah Badu, Talib Kweli, and Common - contributing heavily to the latter's critically acclaimed breakthrough album, Like Water for Chocolate.^[1]

His debut as a solo artist came in 2001 with the single "Fuck the Police", followed by the album Welcome 2 Detroit, which kicked off U.K. Independent record label BBE's "Beat Generation" series. In 2001, Jay Dee, began using the name "J Dilla" (an attempt to differentiate himself from Jermaine Dupri who also goes by "J.D."), and left Slum Village to pursue a major label solo career with MCA Records.

2002 saw Dilla producing the entirety of Frank-N-Dank's 48 Hours, as well as a solo album, but neither record was ever released, although the former did eventually surface through bootlegging.^[8] When Dilla finished working with Frank-N-Dank on the 48 Hours album, MCA Records requested a record with a larger commercial appeal, and the artists re-recorded the majority of the tracks, this time using little to no samples. Despite this, neither versions of the album saw the light of day, and Dilla expressed he was disappointed that the music never got out to the fans.

Dilla was signed to a solo deal with MCA Records in 2002 and completed an album in 2003.^[8][9] Although Dilla was known as a producer rather than an MC, he chose to rap on the album and have the music produced by some of his favorite producers^[15] such as Madlib, Pete Rock, Hi-Tek, Supa Dave West, Kanye West, Nottz, Waajeed, Quebo Kuntry (J.Benjamin) and others. The album was shelved due to internal changes at the label and MCA folding into Geffen Records.^[9] In a 2007 video interview, Dilla's friend DJ House Shoes alluded to the possibility of the MCA album finally seeing an official release through Stones Throw Records in the future. In April 2008, the album, called Pay Jay, began circulating. BBC Radio 1Xtra DJ Benji B played songs from it on his April 18 show, saying that the album is coming out,^[16] and people on the internet privately shared and discussed the album.^[17]

While the record with MCA stalled, Dilla recorded the uncompromising Ruff Draft, released exclusively to vinyl by German label Groove Attack.^[9] Although the album was little known, it signaled a change in sound and attitude, and his work from this point on was increasingly released through independent record labels. In a 2003 interview with Groove Attack, Dilla talked about this change of direction:

You know, if I had a choice, skip the major labels and just put it out yourself man... Trust me. I tell everybody it's better to do it yourself and let the Indies come after you instead of going in their [direction] and getting a deal and you have to wait, it ain't fun, take it from me. Right now, I'm on MCA but it feels like I'm an unsigned artist still. It's cool, it's a blessing, but damn I'm like, 'When's my shit gonna come out? I'm ready now, what's up?'

Later life and death[link]

LA-based producer and MC Madlib began collaborating with J Dilla, and the pair formed the group Jaylib in 2002, releasing an album called Champion Sound in 2003.^[1] J Dilla relocated from Detroit to LA in 2004 and appeared on tour with Jaylib in Spring 2004.

J Dilla's illness and medication caused dramatic weight loss in 2003 onwards, forcing him to publicly confirm speculation about his health in 2004. Despite a slower output of major releases and production credits in 2004 and 2005, his cult status remained strong within his core audience, as evident by unauthorized circulation of his underground "beat tapes" (instrumental, and raw working materials), mostly through internet file sharing. Articles in publications URB (March 2004) and XXL (June 2005) confirmed rumors of ill health and hospitalization during this period, but these were downplayed by Jay himself. The seriousness of his condition became public in November 2005 when J Dilla toured Europe performing from a wheelchair. It was later revealed that he suffered from thrombotic thrombocytopenic purpura, a rare blood disease, and possibly lupus.^[18]

J Dilla died on February 10, 2006, three days after his 32nd birthday and the release of his final album Donuts, at home in Los Angeles, California. According to his mother, Maureen Yancey, the cause was cardiac arrest.^[19]

Posthumous music[link]

Upon his death, Dilla had several projects planned for future completion and release.^[1]

The Shining, "75% completed when Dilla died," was completed posthumously by Karriem Riggins and released on August 8, 2006 on BBE Records.^[20]

Ruff Draft was reissued as a double CD/LP set in March 2007 and is sometimes considered his third solo album. The reissue contains previously unreleased material from the Ruff Draft sessions and instrumentals. Most notably, it was also released in a cassette tape format, paying homage to Dilla's dirty, grimy sound (he was known for recording over two-tracked instrumentals).^[1]

Jay Love Japan was announced in 2005 as his debut release on the Operation Unknown label. The official release remains shrouded in mystery, as various legitimate and illegitimate versions of this mini-album can be bought online and in stores.

Champion Sound, J Dilla's and Madlib's collaborative album, was reissued in June 2007 by Stones Throw Records as a 2CD Deluxe Edition with instrumentals and b-sides.^[1]

He also produced three tracks on the 2007 Stones Throw Records 2K Sports NBA 2K8 soundtrack, B-Ball Zombie War.

Dillagence, a mixtape of previously unreleased tracks featuring Busta Rhymes over Dilla's production, was released in November 2007. Busta was one of Dilla's most passionate supporters; on the mixtape, Busta says that, although Dilla's name is not listed in every Busta album, he did in fact contribute to every solo Busta album. The compilation was made free for download from MickBoogie.com.

"Modern Day Gangstaz" (also known as "The Ugliest" and "Dangerous MCs"), a song produced by Dilla featuring vocals from The Notorious B.I.G., Busta Rhymes, and Labba, which originally appeared in its original form on a mixtape in the late '90s, eventually surfaced in full-length form in 2007.^[21] This version, however, is a cut-and-paste job using verses recorded for Biggie's posthumous Born Again album, for which a new beat was used from Nottz.

In 2008, Q-Tip used one of Dilla's beats for his song Move off of The Renaissance.

Yancey Boys, by J Dilla's younger brother John Yancey, was released in 2008 on Delicious Vinyl Records. It is produced entirely by J Dilla and features rapping by his brother, under the name Illa J. Stones Throw Records released a digital instrumental version of the album in 2009.^[22]

An album titled Jay Stay Paid (aka J$P) was released in 2009. Despite well-known collaborators rapping over Dilla's music, the involvement of Pete Rock in mixing, and the endorsement of J Dilla's mother, this is the second posthumous J Dilla release whose legitimacy is not fully known. It does not appear in J Dilla's official discography.^[23]

In 2009, Mos Def used one of Dilla's beats on his album The Ecstatic. The song, entitled "History", also featured Talib Kweli. Wu-Tang Clan member Raekwon used Dilla beats for his songs "House of Flying Daggers", "Ason Jones", and "10 Bricks" which are all on his critically acclaimed album Only Built 4 Cuban Linx II. The metal-faced supervillain MF DOOM also used 2 Dilla beats for tracks "Lightworks"(borrowed from album "Donuts"), and "Gazillion Ear" off his 2009 album "Born Like This".

In 2010, unreleased production and vocals from J Dilla will be featured on Slum Village's sixth studio album Villa Manifesto, the first album with all five members.

In December 2011, Jonathan Taylor, CEO of the Yancey Music Group (founded by Dilla's mother Maureen Yancey), told the UK's Conspiracy Worldwide radio show that the album Rebirth of Detroit is ready for a May 2012 release.^[24] On May 25, 2012, Mahogani Music will release a limited edition 12" vinyl titled Dillatroit/Rebirth Promo EP, leading up to the official release of Rebirth of Detroit on June 12, 2012.

Legacy[link]

J Dilla leaves behind two daughters.^[25] In May 2006, J Dilla's mother announced the creation of "The J Dilla Foundation," which will work to cure people affected by lupus.^[1]

Dilla's death has had a significant impact on the hip hop community.^[26] Besides countless tribute tracks and concerts, Dilla's death created a wealth of interest in his remaining catalog and, consequently, Dilla's influence on hip hop production became more apparent.^[1]

Dave Chappelle gives a special dedication to J Dilla in his movie Dave Chappelle's Block Party, which includes the statement "This film is dedicated to the life and memory of Music Producer J Dilla, aka Jay Dee (James D. Yancey)". The film focuses mostly on members of the Soulquarians, a collective of hip hop musicians of which Yancey was also a member.

J Dilla's music has been used in various television programs. Cartoon Network's late night programing block, Adult Swim, has played the songs "Waves", "Welcome to the Show", and "Mash" during the commercial bumpers in between shows. In May 2010, UK mobile network 02 used Jaylib's "The Red" instrumental in their 'Pool Party' ad.^[27] A recent BBC documentary inspired by the olympic runner Usain Bolt, contained two J Dilla-produced songs - "So Far To Go" by Common and "Runnin'" by The Pharcyde.

In February 2007, a year after his death, J Dilla posthumously received the Plug Award's Artist of the Year as well as the award for Record Producer of the Year.^[28] In Dilla's hometown of Detroit, House music veteran Carl Craig has fronted a movement to install a plaque in honor of J Dilla in Conant Gardens (where the artist grew up and initiated his career). A resolution for the proposed plaque was passed by the Detroit Entertainment Commission in May 2010, and is currently awaiting approval by the Detroit City Council.^[29] J Dilla continues to be remembered as one of the most important figures of the hip hop generation.