Miami bass (also known as booty music or booty bass, 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. The use of the Roland TR-808 sustained kick drum, raised dance tempos, and occasional sexually explicit lyrical content differentiate it from other hip hop subgenres.

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  • Miami bass (also known as booty music or booty bass, 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. The use of the Roland TR-808 sustained kick drum, raised dance tempos, and occasional 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 black ghettos such as Liberty City and Overtown". Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of drum and bass, Baltimore Club, Southern rap, Funk carioca, and other genres. 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 released much material of the genre. Unterberger has referred to James McCauley (also known as DXJ, Maggozulu 2, 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. "Bass Rock Express" by MC ADE (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. The single "Throw The Dick" by 2 Live Crew in January 1986 gave a permanent blueprint to how future Miami Bass songs were songwritten and produced. Luther 'Luke Skyywalker' Campbell along with David "Treach DJ 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). The popularity of Miami bass was in part due to its successful promotion in the South Florida area by local DJs, radio stations, and clubs. 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, Space Funk DJs, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Ramon Hernandez, Bass Master DJ's, Lazaro Mendez (DJ Laz), Earl "The Pearl" Little, Uncle Al, 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. Radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR, and WPOW (Power 96). By the mid 1990s the influence of Miami Bass had spread outside South 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 like 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, "Tootsee Roll" by 69 Boyz in 1994, and "C'mon N' Ride It (The Train)" by the Quad City DJ's in 1996. These songs all reached the top 10 in the pop charts and gave Miami Bass a new commercial success. 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. Another sub-genre of Miami bass is car audio bass, which 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 simply the sine wave by itself. 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, up-tempo 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 Jooking, Wu- Tanging, and Bopping (usually only done in Miami, Dade, Broward, and Palm Beach Counties in south Florida)
  • Miami Bass ist eine von schnellen, elektronischen Beats geprägte Form des Hip-Hop, die in den 80er und 90er Jahren große Popularität erlangte. Der Stil des Miami Bass ist ein direkter Abkömmling des traditionellen Electro Funk der 80er Jahre, was man an den Beats des häufig verwendeten Drumcomputers TR-808 erkennen kann. Die Texte sind meist humorvoll gehalten und handeln oft explizit von sexuellen Themen. Teile der Hip-Hop-Szene kritisieren deshalb die mangelnde Glaubwürdigkeit des Miami Bass und die vergleichsweise banalen Texte. In Deutschland war im Jahr 2000 das im Miami-Bass-Stil gehaltene Stück Türlich, Türlich (sicher, Dicker) von Das Bo enorm erfolgreich, es verkaufte sich etwa 220.000 mal. Der Berliner Rapper Frauenarzt und der mit ihm befreundete hannoversche Produzent DJ Reckless sind Vertreter des Miami Bass mit deutschen Texten. Verwandt ist der Miami Bass mit den ebenfalls elektrolastigen Stilen des Ghetto Tech (Techno Bass) aus Detroit, sowie mit dem brasilianischen Rio Funk.
  • Miami bass (también conocido como booty music, un término que también puede incluir otros géneros) es un tipo de música hip hop que comenzó a hacerse popular en la década de los 80 y 90, conocido por utilizar la caja de ritmos Roland TR-808, 'dance tempos' altos y de vez en cuando contenido sexual en sus letras. Este estilo nunca ha tenido mucha aceptación en el mainstream, pero ha tenido un impacto profundo en el desarrollo del drum'n' bass, southern rap y otros géneros musicales. El autor musical Richie Unterberger ha nombrado a Maggotron (James McCauley, también conocido como DXJ, Maggozulu 2, Planet Detroit y Bass Master Khan) como el "Padre del Miami Bass". El Miami Bass esta estrechamente relacionado con los géneros modernos Ghettotech y Booty House, que combina el Detroit techno y el Chicago house con el Miami Bass.
  • Miami bass on rapin ja elektron alalaji joka oli suosittua 1980-luvun ja 1990-luvun vaihteessa. Se on tunnettu TR-808:n bassorummun käytöstä, keskinopeasta temmostaan ja kiistanalaisista lyriikoistaan.
  • La Miami Bass est un style musical qui se traduit par de la basse très forte, qui doit bouger en ryhtme. C'est une musique née à Miami. On la retrouve dans le Crunk, le Dirty South.
  • Miami bass, conosciuta anche come booty music (un termine che include anche altri generi) è un sottogenere di musica hip hop diventata particolarmente popolare negli anni 1980 e 1990, conosciuta per l'applicazione delle percussione del Roland TR-808, la velocità superiore alla normale dance, ed occasionalmente temi di sessualità esplicita nelle liriche. Richie Unterberger ha caratterizzato il Miami bass con l'uso di ritmi "stop start flavor" e "hissy" cimbali con liriche che riflettono il linguaggio della strada, particolarmente i ghetti neri di Miami come Liberty City. Il Miami bass non ha mai avuto importanti affermazioni nel mainstream musicale, ma ha avuto un profondo impatto sullo sviluppo del Drum'n'Bass, del Southern rap, ed altri generi musicali. Unterberger ha chiamato Maggotron (James McCauley, conosciuto come DXJ, Maggozulu 2, Planet Detroit e Bass Master Khan) il "padre del Miami bass". Ha creato il suono del Miami bass con vocoder ed il cosiddetto "thrombic boomulator" per distinguere la caratteristica distorsione vocale Negli anni '80, l'argomento principale del Miami i DJ ed i beatmaker tanto quanto i performer. Etichette come la Pandisc erano ben conosciute e Bass Rock Express di MC ADE è accreditato come il primo disco di Miam bass pubblicato. Luther Campbell, della 2 Live Crew, diede maggiore popolarità al Miami bass nei tardi anni '80 e primi anni '90. il loro The 2 Live Crew Is What We Are, pubblicato nel 1986, diventò disco molto controverso per le liriche esplicitamente riferite al sesso e per temi profani. As Nasty As They Wanna Be del 1989, ed il singolo "Me So Horny", fu allo stesso modo seguita da polemiche e problemi legali per la crew, e ne segnò una inesorabile caduta di popolarità. È importante ricordare che la popolarità del Miami Bass fu in parte dovuta alla promozione ricevuta nella Florida del sud da Dj locali, radio e discoteche. Per buona parte della metà anni '80 e primi anni '90 DJ come Luke Skyywalker’s Ghetto Style DJ’s, Norberto Morales’ Triple M DJ’s, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Raymond Hernandez and Lazaro Mendez sono stati coinvolti fortemente nel passare il Miami bass agli eventi esterni locali con vasto pubblico come in spiaggia, ai parchi ed alle fiere. Club in Florida del sud come Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club and Club Boca ospitavano notti a base di Bass. Rotazioni e programmazioni radiofoniche supportarono fortemente il genere soprattutto nelle radio Rhythm 98, così come WEDR, e Power96. Il Miami Bass è fortemente correlato ai moderni generi della Ghettotech e Booty House, che combinano Detroit techno e Chicago house con il suoni del Miami bass. La Ghettotech segue il medesimo orientamento a sfondo sessuale per le rime, linee di basso hip-hop, atteggiamento da strada ma con stile techno nei beats prodotti con Roland TR-909
  • ベース・ミュージック(Bass music)はヒップホップのジャンルのひとつで、低音部を極端に強調したサウンドと速いBPMが特徴。アメリカ南部で発展した。ベースとも、また地名を採って「マイアミ・ベース」「アトランタ・ベース」とも呼ばれる。 ヒップホップでは通常ドラムにはブレイクビーツが用いられるが、ベースミュージックの場合はリズムマシン（ローランド社のTR-808）が用いられる。これはTR-808のバスドラムの音圧が高いからである。 ベース・ミュージックは80年代後半にアメリカ・マイアミで生まれた。ヒップホップに比べラップ部分は比較的単純で、セックスをテーマにしたものが多い傾向にある。女性の喘ぎ声のサンプルが配される事も多い。 代表的なアーティストに2ライヴ・クルー、DJマジック・マイク がいる。 90年代中盤にはアトランタでも流行、マイアミ・ベースに比べR&B色が強く、歌ものの楽曲も多い。 ジャーメイン・デュプリのソーソーデフ・レコーディングスよりリリースされたアルバム『So So Def Bass all stars』からシングル・カットされたINOJ『Time after time』がスマッシュヒットとなった。
  • Miami bass (ook gekend als booty music, een term die ook nog andere genres kan omschrijven) is een type hiphop dat populair was in de jaren 1980 en 1990, gekend voor het gebruik van de aangehouden Roland TR-808 kick drum, iets hoger dancetempo, en vaak seksueel expliciete teksten. Music autheur Richie Unterberger heeft de Miami bass gedefinieerd als het gebruiken van ritmes met een "stop start smaak" en "hissende" cymbalen met teksten die "de taal van de straat" weergeven, vooral van in zwarte getto's in Miami zoals de Liberty City" . Miami bass werd in de mainstream nooit echt geaccepteerd, maar heeft wel een diepgaande impact gehad op de ontwikkeling van onder andere breakbeat, Southern rap en Ghettotech. Music USA: The Rough Guide noemt Maggotron (James McCauley, ook gekend als DXJ, Maggozulu 2, Planet Detroit en Bass Master Khan) de "vader van de Miami Bass". Maar ook Amos Larkins ienk Luther 'Luke Skyywalker' Campbell verdienen deze titel. In de 1980er jaren,kwam de focus van het genre te liggen op de DJs en producers eerder dan op de uitvoerders. Labels zoals Pandisc waren ook bekend. "Bass Rock Express" van MC ADE (geproduceerd door Amos Larkins) wordt dikwijls gezien als de eerste Miami Bass-plaat die internationaal heel populair werd in de underground scene. Luther 'Luke Skyywalker' Campbell van de groep 2 Live Crew, leverde het meeste werk om de populariteit van Miami Bass in de late 1980er jaren en begin 1990er jaren omhoog te halen. Hun The 2 Live Crew Is What We Are, dat uitkwam in 1986, was heel controversieel door zijn seksueel expliciete en profane inhoud. Het in 1989 uitgekomen As Nasty As They Wanna Be en de hit single "Me So Horny" waren nog controversiëler en leidde tot een rechterlijk verbod op de verkoop van het album. De zaak kwam helemaal tot de Amerikaanse hogerechtshof. Het is belangrijk te benadrukken dat de populariteit van Miami Bass mede kwam door de promotie van lokale DJ's, radiostations en clubs. Voor het grote deel van de jaren 80 en het begin van de jaren 90 waren DJ's zoals Luke Skyywalker’s Ghetto Style DJs, Norberto Morales’ Triple M DJs, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Raymond Hernandez en Lazaro Mendez intensief betrokken bij het spelen van Miami Bass op lokale evenementen met groot publiek op stranden, parken, kermissen. Clubs in Zuid-Florida zoals oa Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club en Club Boca hielden regelmatig Bass nights. Radiotijd en programma support was heel sterk in de nu vergane Rhythm 98, alsook de WEDR, en WPOW (Power 96). Miami Bass is sterk gerelateerd met het moderne genre Ghettotech, dat Detroit techno and Chicago house combineert met Miami Bass. Ghettotech kent ook dezelfde seksueel getinte teksten, hiphop basslines en een meer "streetwise" attitude, maar dit alles met een hardere, techno-achtige, uptempo Roland TR-909 kick beats.
  • Miami bass (dirty rap, booty music) - podgatunek hip-hopu zawierający elementy muzyki disco, techno i electro. Nurt ten narodził się w połowie lat 80. XX wieku w północnej części Florydy. Znakiem charakterystycznym Miami Bass są szybkie podkłady i teksty zawierające treści erotyczne (np. opisujące stosunek seksualny, czy imprezy erotyczne), przez co od samego początku do dziś wzbudza spore kontrowersje. Charakterystyczną cechą jest wykorzystywanie automatu TR-808. Za początek owego nurtu muzycznego uważa się utwór MC ADE'a "Bass Rock Express" z 1985 r. , jednak za prekursorów tego gatunku uważa się amerykańską grupę 2 Live Crew, która w 1986 r. wydała album "The 2 Live Crew Is What We Are", który otrzymał status złotej płyty. Następne albumy grupy również wzbudzały spore kontrowersje. Z Miami bass wywodzi się wiele podgatunków hip-hopu m in. crunk, dirty south, snap music czy porn rap. Dziś w takich klimatach nagrywa mała liczba artystów lub eksperymentuje z tym gatunkiem. W Polsce ten rodzaj jest mało popularny, choć niektórzy artyści próbowali coś nagrać w tym klimacie (np. TPWC w kawałku "Lubisz Hardcore" czy Tede w kawałku "Król Parkietu")
  • Miami bass (também conhecido como som de Miami) é um tipo de hip hop que se tornou popular nos EUA nos anos 80 e 90. Ele é conhecido por usar a batida continuada da caixa de ritmos Roland TR-808, batida de dança acelerada e, algumas vezes, pelo conteúdo sexualmente explícito das letras. É derivado do Electro e foi a base do chamado funk carioca.
  • Miami bass är en genre inom hip-hop med viss electro-prägel då den härstammar från den genren. Stilen skapades under 80-talet i södra USA.
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  • Miami bass (also known as booty music or booty bass, 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. The use of the Roland TR-808 sustained kick drum, raised dance tempos, and occasional sexually explicit lyrical content differentiate it from other hip hop subgenres.
  • Miami Bass ist eine von schnellen, elektronischen Beats geprägte Form des Hip-Hop, die in den 80er und 90er Jahren große Popularität erlangte. Der Stil des Miami Bass ist ein direkter Abkömmling des traditionellen Electro Funk der 80er Jahre, was man an den Beats des häufig verwendeten Drumcomputers TR-808 erkennen kann. Die Texte sind meist humorvoll gehalten und handeln oft explizit von sexuellen Themen.
  • Miami bass (también conocido como booty music, un término que también puede incluir otros géneros) es un tipo de música hip hop que comenzó a hacerse popular en la década de los 80 y 90, conocido por utilizar la caja de ritmos Roland TR-808, 'dance tempos' altos y de vez en cuando contenido sexual en sus letras. Este estilo nunca ha tenido mucha aceptación en el mainstream, pero ha tenido un impacto profundo en el desarrollo del drum'n' bass, southern rap y otros géneros musicales.
  • Miami bass on rapin ja elektron alalaji joka oli suosittua 1980-luvun ja 1990-luvun vaihteessa. Se on tunnettu TR-808:n bassorummun käytöstä, keskinopeasta temmostaan ja kiistanalaisista lyriikoistaan.
  • La Miami Bass est un style musical qui se traduit par de la basse très forte, qui doit bouger en ryhtme. C'est une musique née à Miami. On la retrouve dans le Crunk, le Dirty South.
  • Miami bass, conosciuta anche come booty music (un termine che include anche altri generi) è un sottogenere di musica hip hop diventata particolarmente popolare negli anni 1980 e 1990, conosciuta per l'applicazione delle percussione del Roland TR-808, la velocità superiore alla normale dance, ed occasionalmente temi di sessualità esplicita nelle liriche.
  • Miami bass (ook gekend als booty music, een term die ook nog andere genres kan omschrijven) is een type hiphop dat populair was in de jaren 1980 en 1990, gekend voor het gebruik van de aangehouden Roland TR-808 kick drum, iets hoger dancetempo, en vaak seksueel expliciete teksten.
  • Miami bass (dirty rap, booty music) - podgatunek hip-hopu zawierający elementy muzyki disco, techno i electro. Nurt ten narodził się w połowie lat 80. XX wieku w północnej części Florydy. Znakiem charakterystycznym Miami Bass są szybkie podkłady i teksty zawierające treści erotyczne (np. opisujące stosunek seksualny, czy imprezy erotyczne), przez co od samego początku do dziś wzbudza spore kontrowersje. Charakterystyczną cechą jest wykorzystywanie automatu TR-808.
  • Miami bass (também conhecido como som de Miami) é um tipo de hip hop que se tornou popular nos EUA nos anos 80 e 90. Ele é conhecido por usar a batida continuada da caixa de ritmos Roland TR-808, batida de dança acelerada e, algumas vezes, pelo conteúdo sexualmente explícito das letras. É derivado do Electro e foi a base do chamado funk carioca.
  • Miami bass är en genre inom hip-hop med viss electro-prägel då den härstammar från den genren. Stilen skapades under 80-talet i södra USA.
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