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Booty:
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Miami bass
Stylistic origins: Hip hop, other influences
Cultural origins: Early-1980s & 1990's South Florida
Typical instruments: Prominent drum machine - Turntable - rapping - Sampler
- synthesizer - human beatboxing
Mainstream popularity: Became popular in the Late 80's/Early 90's
Subgenres
Snap music - Dirty South - Crunk - Memphis rap - New Orleans Rap - Chopped &
Screwed - Houston Rap - Miami bass - Bounce music - Little Rock hip hop -
Jook music
Regional scenes
- South Florida - Southern United States-
Miami bass (also known as booty music, a term that may also include other
genres, such as dirty rap), is a type of hip hop music that became popular
in the 1980s and 1990s. It is known for applying the Roland TR-808 sustained
kick drum, slightly higher dance tempos, and occasionally sexually explicit
lyrical content. 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 black Miami
ghettos such as Liberty City" [1]. Miami bass has never had consistent
mainstream acceptance, but has had a profound impact on the development of
drum and bass, Baltimore Club, Southern rap, funk carioca, and other genres
of music.
Unterberger has called Maggotron (James McCauley, also known as DXJ,
Maggozulu 2, Planet Detroit and Bass Master Khan), the "father of Miami
bass". But, strangely enough, Maggotron claims even by his own admittance
that he never said to Unterberger that he was the father of Miami bass as
Unterberger states in his book. James McCauley admits that Unterberger
clearly misquotes him and that it is not him but “Amos Larkins who should be
called the Father of Miami Bass "bar none, no exceptions, hands down”. In
the 80s, the focus of Miami bass was on the DJs and record producers rather
than the performers. Record labels like Pandisc were also well-known. "Bass
Rock Express" by MC ADE music and beats produced by Amos Larkins is often
credited as the first Miami bass record that gained underground popularity
on an international scale.
Luther 'Luke Skyywalker' Campbell, of the crew 2 Live Crew, did the most to
popularize Miami bass in the late 1980s and early 1990s. Their The 2 Live
Crew Is What We Are, released in 1986, became controversial for sexually
explicit and profane lyrics. The 1989 As Nasty As They Wanna Be, and its hit
single "Me So Horny", was even more controversial and led to legal troubles
for 2 Live Crew and retailers; all charges were eventually overturned on
appeal.
Miami bass popularity was in part successful due to the promotion it
received in the South Florida area by local DJs, radio and clubs. For the better part of the mid 80’s to early 90’s DJs such as Luke
Skyywalker’s Ghetto Style DJs, Norberto Morales’ Triple M DJs, Space Funk
DJ's, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Ramon Hernandez, Lazaro
Mendez 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. Radio
airplay and programming support was strong in the now defunct Rhythm 98, as
well as WEDR, and WPOW (Power 96).
Disco Rick debuted with the Gucci Crew first in 1986 and then later released
The Dogs album in 1988, and after that signed a solo deal with Luke Records
in 1993 and created a hit single "Wiggle Wiggle". Disco Rick has been the
first bass artist that turned into well known studio engineer and producer
outside of the genre of bass music, opening doors for others to come work
with him. By bringing "Bone Thugs-N-Harmony" in changed Miami significantly
when they worked with Disco Rick and he produced a bass track on the Mo
Thugs album called "Its All Good". Later, Lil Jon & The Eastside Boyz came
to Miami at the same studio to work with Disco Rick on first single of
"Kings Of Krunk". Crunk thus may be viewed as a sub-genre of Miami bass.
Another well known sub-genre of Miami bass is "car audio bass" with artists
such as Techmaster P.E.B., DJ Magic Mike, Beat Dominator, Bass 305, Quad
Force, Bass Patrol, MC ADE, and many others. This style of Miami bass
features an even more stripped down and bass heavy sound,tending to focus on
either extremely hard 909 kicks combined with sine waves or the classic 808
kick,or sometimes just the sine wave by itself as the main focus of the
track. Some would argue that the car audio bass movement is what made car
audio in itself gain so much popularity in the late 80s/early 90s.
Miami bass is closely related to the modern 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
basslines and streetwise attitude but with harder, uptempo Roland TR-909
techno-style kick beats.
Reference
* Papawheelie. "Miami Bass: The Primer" http://www.stylusmagazine.com/articles/weekly_article/miami-bass-the-primer.htm
* Unterberger, Richie (1999). Music USA: The Rough Guide. The Rough Guides,
144-145. ISBN 1-85828-421-X.
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