Miami bass | |
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Stylistic origins | |
Cultural origins | Mid-1980s, Miami, Florida, United States |
Derivative forms | |
Subgenres | |
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Regional scenes | |
Music of Florida | |
Local scenes | |
Music of Miami | |
Other topics | |
Dirty rap |
Miami bass (also known as booty music or booty bass) is a subgenre of hip hop music that became popular in the 1980s and 1990s. The use of drums from the Roland TR-808, sustained kick drum, heavy bass, raised dance tempos, and frequently sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop-start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's historically black neighborhoods such as Liberty City, Goulds, and Overtown". [1]
Despite Miami bass never having consistent mainstream acceptance, early national media attention in the 1980s resulted in a profound impact on the development of hip hop, dance music, and pop. [2]
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Origin of Miami Bass | |
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During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc, HOT Records, 4-Sight Records and Skyywalker Records released much material of the genre. Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu Too, Planet Detroit and Bass Master Khan) as the "father of Miami bass", a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins. [3] [2] DJ Kurtis Mantronik (Mantronix) was a key influence on Miami bass. In particular, Mantronik's single "Bass Machine" (1986), featuring rap vocals by T La Rock, was pivotal to the development of Miami bass. [4]
MC ADE's "Bass Rock Express" (with music and beats produced by Amos Larkins) is often credited as being the first Miami bass record to gain underground popularity on an international scale. [2]
The single "Throw The D" by the group 2 Live Crew in January 1986 gave a permanent blueprint to how future Miami bass songs were written and produced. [2]
Luther "Luke Skyywalker" Campbell along with David "Mr. Mixx" Hobbs of 2 Live Crew played a key role in popularizing Miami bass in the late 1980s and early 1990s. The group's 1986 release, The 2 Live Crew Is What We Are , became controversial for its sexually explicit lyrics. 1989's As Nasty As They Wanna Be , along with its hit single "Me So Horny", proved more controversial still, leading to legal troubles for both 2 Live Crew and retailers selling the album (all charges were eventually overturned on appeal). [2]
For the better part of the mid-'80s and early '90s, DJs such as Luke Skyywalker's Ghetto Style DJs, Norberto Morales' Triple M DJs, Super JD's MHF DJs, Space Funk DJs, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, DJ Spin, Ramon Hernandez, Bass Master DJs, DJ Laz, Earl "The Pearl" Little, Uncle Al, Ser MC, Raylo & Dem Damn Dogs, DJ Slice, K-Bass, Jam Pony Express and others were heavily involved in playing Miami bass at local outdoor events to large audiences at area beaches, parks, and fairs.
Clubs in South Florida, including Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club and Club Boca, were hosting bass nights on a regular basis. Miami radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR and WPOW (Power 96).
Contribution and promotion of Miami bass also came out of Orlando. 102 Jamz (WJHM), a prominent Orlando radio station in the late '80s, featured Miami bass and helped its popularity rise in and around Central Florida.
Florida breaks was heavily influenced by Miami bass in addition to elements of house, and deep bass that eventually created "The Orlando Sound". Thus, Miami bass quickly became a Florida staple.
By the mid-1990s, the influence of Miami bass had spread outside South and Central Florida to all areas of Florida and the Southern United States. In the mid-1990s, it saw a commercial and mainstream resurgence, with Miami bass influenced artists such as L'Trimm, 95 South, Tag Team, 69 Boyz, Quad City DJ's and Freak Nasty all scoring big Miami bass hits. Examples of these songs are "Whoomp! (There It Is)" by Tag Team in 1993, [5] "Tootsee Roll" by 69 Boyz in 1994, [6] "C'mon N' Ride It (The Train)" by the Quad City DJ's in 1996 [7] and "Whoot, There It Is" by 95 South in 1993. [5]
These songs all reached the top 20 on the Billboard Hot 100 chart and exposed Miami bass nationally. These artists generally used a Miami bass sound and production but did it in a far less explicit and far more accessible way than had been previously done by Campbell and the 2 Live Crew. [8]
Miami bass is closely related to the electronic dance music genres of ghettotech and booty house, genres which combine Detroit techno and Chicago house with the Miami bass sound. Ghettotech follows the same sexually oriented lyrics, hip-hop bass lines and streetwise attitude, but with harder, uptempo Roland TR-909 techno-style kick beats. In 2007, contemporary hip-hop and R&B songs became more dance oriented, showing influences of Miami bass and techno, and are typically sped up to a "chipmunk" sound for faster tempos for dances such as juking, wu-tanging and bopping (usually only done in Miami-Dade, Broward and Palm Beach Counties in south Florida).[ citation needed ]
Miami bass has been influenced by the cultural history of its wide-ranging community with the evolution of Cuban, Dominican, and Afro-Brazilian-fused sub-genres that include Baltimore club and funk carioca. [9] [10]
Another subgenre of Miami bass is "car audio bass", which features an even more stripped down bass-heavy sound, tending to focus on either extremely hard 909 kicks combined with sine waves or the classic 808 kick, or sometimes simply the sine wave by itself.[ citation needed ] Some artist examples would be DJ Laz, DJ Magic Mike, Afro-Rican (as Power Supply), Techmaster P.E.B., DJ Billy E, Bass 305 and Bass Patrol.
Gqom, an African electronic dance genre that originated in Durban, South Africa, in the early 2010s, is sometimes conflated with Miami bass due to perceived similarities between Durban's cityscape and Miami's South and North Beach areas as well as car culture (enhanced car sound systems, with an emphasis on bass to play or enjoy the genres). However, gqom and miami bass are distinct not only in their origins but also in their production styles. [11] [12]
House is a genre of electronic dance music characterized by a repetitive four-on-the-floor beat and a typical tempo of 115–130 beats per minute. It was created by DJs and music producers from Chicago's Black gay underground club culture and evolved slowly in the early/mid 1980s as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat.
Electro is a genre of electronic music and early hip hop directly influenced by the use of the Roland TR-808 drum machines and funk. Records in the genre typically feature heavy electronic sounds, usually without vocals; if vocals are present, they are delivered in a deadpan manner, often through electronic distortion such as vocoding and talkboxing. It palpably deviates from its predecessor boogie by being less vocal-oriented and more focused on electronic beats produced by drum machines.
Florida breaks, which may also be referred to as The Orlando Sound, Orlando breaks, or The Breaks, is a genre of breakbeat dance music that originated in the central region of Florida, United States. Florida Breaks draws on hip-hop, Miami bass and electro. It often includes samples of early jazz or funk beats from rare groove or popular film. It often features vocal elements. Compared to the hip-hop on which it is based, the style is faster, more syncopated, and has a heavier and unrelenting bassline. The beat frequently slows and breaks down complex beat patterns and then rebuilds. The genre has been described as being easy to dance to while creating an uplifting, happy, or positive mood in the listener.
Christopher Wong Won, better known by his stage name Fresh Kid Ice, was a Trinidadian-American rapper and a Miami bass pioneer. Wong Won was born and spent his early childhood in Port of Spain, Trinidad and Tobago, before emigrating to the United States. In his early twenties, Wong Won was in the United States Air Force and he co-founded 2 Live Crew while he was stationed in California. Early 2 Live Crew singles gained so much traction in Florida that they relocated there. By 1986, the group released the single "Throw The 'D'"; it is now considered the blueprint of Miami bass.
Electronic dance music (EDM), also referred to as club music, is a broad range of percussive electronic music genres originally made for nightclubs, raves, and festivals. It is generally produced for playback by DJs who create seamless selections of tracks, called a DJ mix, by segueing from one recording to another. EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. Since its inception EDM has expanded to include a wide range of subgenres.
Afro-Rican is a Miami bass and hip-hop group, most known for their songs "Give it All You Got " and "All of Puerto Rico". The group was formed by Derrick Rahming, and the remainder of the lineup has changed throughout the group's existence. Members of the group have included Rahming, Juan Arroyo, and Marcus Rice.
Danny Robledo, better known as Hypno5ive or Hypno5 is an alternative music DJ, artist, promoter, designer and publisher of a music website of the same name that offers news and reviews focusing on industrial, ebm, darkwave, gothic, post-punk and alternative genres.
Funk carioca, also known as favela funk, in other parts of the world as baile funk and Brazilian funk, or even simply funk, is a hip hop-influenced music genre from Rio de Janeiro, blending the rap subgenres of Miami bass and gangsta rap. Despite its name, funk carioca has no musical correlation with the American funk by any means.
The music of Miami is a diverse and important field in the world of music. The Greater Miami area has long been a hub for diverse musical genres. For example, South Florida has been a hub for Southern Rap. Miami, in particular, is a "hub" for Latin Music in the United States. Miami bass, a prominent hip-hop genre in the late 1980s and early 1990s, got its start in Miami; Luther "Luke Skyywalker" Campbell and his 2 Live Crew were among the more prominent Miami Bass acts, largely because of an obscenity scandal fomented by Broward County, Florida Sheriff Nick Navarro. Moreover, although not a South Florida native, Jimmy Buffett rose to prominence after moving to Key West, Florida and has long been associated with the "South Florida lifestyle". Other notable South Florida-based musical performers include Gloria Estefan, Marilyn Manson, Leslie Grace, Tony Succar, Vanilla Ice, DJ Laz, and Pitbull.
Dance music is music composed specifically to facilitate or accompany dancing. It can be either a whole piece or part of a larger musical arrangement. In terms of performance, the major categories are live dance music and recorded dance music. While there exist attestations of the combination of dance and music in ancient history, the earliest Western dance music that we can still reproduce with a degree of certainty are old-fashioned dances. In the Baroque period, the major dance styles were noble court dances. In the classical music era, the minuet was frequently used as a third movement, although in this context it would not accompany any dancing. The waltz also arose later in the classical era. Both remained part of the romantic music period, which also saw the rise of various other nationalistic dance forms like the barcarolle, mazurka, ecossaise, ballade and polonaise.
Asian hip hop is a heterogeneous musical genre that covers all hip hop music as recorded and produced by artists of Asian origin.
David P. Hobbs, also known by his stage name Mr. Mixx, is an American musician and record producer who is the co-founder of the controversial rap group 2 Live Crew. In 1986, the group released the single "Throw The 'D'"; it is now considered the blueprint of Miami bass.
Footwork, also called juke, footwork/juke or Chicago juke, is a genre of electronic dance music derived from ghetto house with elements of hip hop, first appearing in Chicago in the late 1990s. The music style evolved from the earlier, rapid rhythms of ghetto house, a change pioneered by RP Boo. It may draw from the rapid rhythms and sub-bass frequencies of drum & bass. Tracks also frequently feature heavily syncopated samples from rap, pop and other sources, and are often around 160 bpm.
The influence and impact of hip hop was originally shaped from African American and Latino communities in the South Bronx. In the last several decades, the movement has become a worldwide phenomenon which transcends different cultural boundaries as it reaches several ethnic groups, including Asian Americans. Asian American hip-hop practitioners include: MC Jin, Lyrics Born, Dumbfoundead, Tokimonsta, and DJ Q-Bert.
Mark D. Ross, better known by his stage name Brother Marquis, was an American rapper and a Miami bass pioneer. Ross was born in Rochester, New York. In his teens, he moved with his mother to Los Angeles, California. By the early 1980s, Ross started to release music and made an impression on DJ and producer David Hobbs. Hobbs was part of the group 2 Live Crew, who had just created the Miami Bass blueprint, and were successful in Florida. This led Ross accepting an invitation to join them. Due to his comedic sensibilities, Ross integrated easily into the direction the group was taking. Alongside Hobbs, Christopher Wong Won, and Luther Campbell, they became the most well-known line up of the group. In 1986, they had a breakthrough with their Gold-certified debut album, The 2 Live Crew Is What We Are.
The 2 Live Crew is an American hip hop group from Miami, Florida that had its greatest commercial success from the late 1980s to the early 1990s. The group's most well-known lineup was composed of Uncle Luke, Fresh Kid Ice, Mr. Mixx, and Brother Marquis. They were considerably controversial in the U.S. due to the sexually explicit content in their songs, particularly on their 1989 album As Nasty as They Wanna Be.
Gqom, gqom tech, sgubhu, 3-Step or G.Q.O.M) is an electronic dance music genre and subgenre of house music that emerged in the early 2010s from Durban, South Africa, pioneered and innovated by music producers Naked Boyz, Rudeboyz, Sbucardo, Griffit Vigo, Nasty Boyz, DJ Lag, Menzi Shabane, Distruction Boyz and Citizen Boy.
Bass music is a term used to describe several genres of electronic dance music and hip hop music arising from the 1980s on, focusing on a prominent bass drum and/or bassline sound. As one source notes, there are "many different types of bass music to fall into, each putting a different spin on one of music's loudest elements". Typically, the bass sound is created using synthesizers and drum machines such as the influential Roland TR-808.
Miami Bass, Booty Bass, Booty Music, or whatever you want to call it, changed the scenes of hip hop, dance music, and pop forever...The story of music's dirtiest genre reaches back to the '80s with roots set firmly in Afrika Bambaataa's elektro-funk...foundational artists Amos Larkins and Maggotron, both of whom have been credited as kicking the regional sound into motion. According to Stylus Magazine, Larkins and the Miami Bass conception can be traced back to the movie Knights of the City...Inspired by the humid and vice-ridden melting pot of cultures, ...MC A.D.E.'s "Bass Rock Express" gets the title for first hit of the genre, but it was 2 Live Crew who became the poster boys of movement. Record store owners who sold the album were arrested and charged with crimes of obscenity, and 2 Live Crew members were arrested just for playing shows...US Appeals Court system ruled rap was protected by First Amendment rights...2 Live Crew made it safe for hip-hop as we know it to exist. The influence of the genre is far-reaching...Miami Bass remains not only one of the most ridiculous and enjoyable genres of music in recent memory but also one of the most important.
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