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Statements

Subject Item
dbr:Miami_bass
rdf:type
umbel-rc:MusicalComposition yago:ExpressiveStyle107066659 yago:MusicGenre107071942 yago:Genre105845332 yago:Music107020895 yago:PsychologicalFeature100023100 yago:Category105838765 yago:Idea105833840 yago:Concept105835747 dbo:TopicalConcept wikidata:Q188451 yago:WikicatHipHopGenres n29:Concept yago:Communication100033020 yago:Content105809192 yago:Cognition100023271 yago:Kind105839024 yago:Abstraction100002137 dbo:MusicGenre owl:Thing yago:AuditoryCommunication107109019 dbo:Genre
rdfs:label
Miami bass Miami bass Miami bass Miami Bass Miami bass Miami bass Miami bass Miami bass Miami bass
rdfs:comment
Miami bass är en genre inom hip-hop med viss electro-prägel då den härstammar från den genren. Stilen skapades under 1980-talet i södra USA. Denna musikrelaterade artikel saknar väsentlig information. Du kan hjälpa till genom att lägga till den. La Miami bass (booty music ou booty bass) est un sous-genre musical du hip-hop popularisé dans les années 1980 et 1990. Les racines du genre sont directement ancrées dans l'electro-funk du début des années 1980. Son utilisation de caisses produites par le Roland TR-808, son tempo rapide, et son contenu lyriquement à caractère sexuel le différencie des autres sous-genres du hip-hop. L'auteur Richie Unterberger définit l'usage des cymbales utilisées dans la Miami bass accompagnées de paroles qui « reflètent le langage des rues, en particulier celui de la communauté noire basée à Miami dans des villes telles que Liberty City et Overtown. » Miami Bass (também conhecido como Bass Music ou Miami Sound) é um subgênero do Hip Hop que tornou-se popular nos EUA e países da América Latina nos anos 80 e 90. Ele é conhecido por usar a batida continuada da caixa de ritmos Roland TR-808 e dança sincopada. O foco do Miami Bass era mais na proficiência dos DJ's em manipular instrumentais do que no conteúdo lírico em si, que era focado em temas sexuais e de festa. Miami bass (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". Miami bass, conosciuta anche come booty music (un termine che include anche altri generi) è uno stile musicale diventato 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. Miami bass (ook bekend als booty music, een term die ook nog andere genres kan omschrijven) is een type hiphop dat populair was in de jaren tachtig en negentig, bekend om het gebruik van de Roland TR-808-drumcomputer, iets hoger dancetempo en vaak seksueel expliciete teksten. Miami bass werd nooit echt in brede kring geaccepteerd, maar heeft wel een diepgaande invloed gehad op de ontwikkeling van onder andere breakbeat, southern hiphop en ghettotech. Miami bass (ghetto bass, booty bass, bass music) – podgatunek hip-hopu oparty na charakterystycznym brzmieniu syntezatora Roland TR-808, zawierający ostre, wulgarne treści erotyczne. Największą popularność zdobył w latach 80. XX wieku i 90. XX wieku. Miami bass największe triumfy święciło pod koniec lat 80. XX wieku. Miami Bass ist eine von tiefen Bassdrums geprägte Spielart des Hip-Hops, die ab Mitte der 1980er bis Mitte der 1990er Jahre große Popularität genoss und im US-amerikanischen Miami in Florida ihr Zentrum hatte. 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.
foaf:name
Miami bass
dbp:name
Miami bass
dcterms:subject
dbc:Bass_(sound) dbc:American_hip_hop_genres dbc:Miami_bass dbc:Music_of_Florida
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dbpedia-es:Miami_bass dbpedia-it:Miami_bass dbpedia-als:Miami_Bass dbpedia-fr:Miami_bass dbpedia-pt:Miami_bass dbpedia-fa:میامی_بیس yago-res:Miami_bass n21:4k5NR dbpedia-fi:Miami_bass dbpedia-nl:Miami_bass dbpedia-de:Miami_Bass freebase:m.01dw7l dbpedia-sv:Miami_bass dbpedia-pl:Miami_bass wikidata:Q546206
dbp:stylisticOrigins
dbr:Breakbeat dbr:Electro_(music) dbr:East_Coast_rap
dbp:subgenres
Audio bass dbr:Bounce_music
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dbt:Cite_book dbt:Regional_hiphop_in_the_United_States dbt:Citation_needed dbt:Hiphop dbt:Reflist dbt:Redirect dbt:Infobox_music_genre dbt:Short_description dbt:External_media
dbp:float
right
dbp:topic
Origin of Miami Bass
dbp:audio
Bass Rock Express by MC A.D.E. credited as the first hit of the genre, YouTube video Throw the D by 2 Live Crew credited with international exposure and shaping the genre, YouTube video
dbo:abstract
Miami Bass ist eine von tiefen Bassdrums geprägte Spielart des Hip-Hops, die ab Mitte der 1980er bis Mitte der 1990er Jahre große Popularität genoss und im US-amerikanischen Miami in Florida ihr Zentrum hatte. Miami bass är en genre inom hip-hop med viss electro-prägel då den härstammar från den genren. Stilen skapades under 1980-talet i södra USA. Denna musikrelaterade artikel saknar väsentlig information. Du kan hjälpa till genom att lägga till den. 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. La Miami bass (booty music ou booty bass) est un sous-genre musical du hip-hop popularisé dans les années 1980 et 1990. Les racines du genre sont directement ancrées dans l'electro-funk du début des années 1980. Son utilisation de caisses produites par le Roland TR-808, son tempo rapide, et son contenu lyriquement à caractère sexuel le différencie des autres sous-genres du hip-hop. L'auteur Richie Unterberger définit l'usage des cymbales utilisées dans la Miami bass accompagnées de paroles qui « reflètent le langage des rues, en particulier celui de la communauté noire basée à Miami dans des villes telles que Liberty City et Overtown. » Miami bass (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". 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. Miami bass (ghetto bass, booty bass, bass music) – podgatunek hip-hopu oparty na charakterystycznym brzmieniu syntezatora Roland TR-808, zawierający ostre, wulgarne treści erotyczne. Największą popularność zdobył w latach 80. XX wieku i 90. XX wieku. Miami bass największe triumfy święciło pod koniec lat 80. XX wieku. Miami bass, conosciuta anche come booty music (un termine che include anche altri generi) è uno stile musicale diventato 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 (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 erano ben conosciute e Bass Rock Express di è accreditato come il primo disco di Miam bass pubblicato. , 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 "", 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 , 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. Miami bass (ook bekend als booty music, een term die ook nog andere genres kan omschrijven) is een type hiphop dat populair was in de jaren tachtig en negentig, bekend om het gebruik van de Roland TR-808-drumcomputer, iets hoger dancetempo en vaak seksueel expliciete teksten. Miami bass werd nooit echt in brede kring geaccepteerd, maar heeft wel een diepgaande invloed gehad op de ontwikkeling van onder andere breakbeat, southern hiphop en ghettotech. James "Maggotron" McCauley (ook bekend als DXJ, Maggozulu 2, Planet Detroit en Bass Master Khan) is wel genoemd als de "vader van de Miami bass". Maar ook Amos Larkins en Luther "Luke Skyywalker" Campbell zouden deze titel kunnen verdienen. In de jaren tachtig kwam het accent van het genre meer op de dj's en producers dan op de uitvoerders te liggen. Platenlabels zoals waren ook bekend. "Bass Rock Express" van de Amerikaanse producer-rapper (geproduceerd door Amos Larkins) wordt dikwijls gezien als de eerste Miami bassplaat die internationaal heel populair werd in de undergroundscene. Luther Campbell van de groep 2 Live Crew droeg er het meest aan bij om de populariteit van Miami bass eind jaren tachtig en begin jaren negentig te verhogen. Hun eerste album 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 hitsingle "Me So Horny" waren nog controversiëler en de verkoop van het album werd verboden. De zaak kwam helemaal tot aan het Amerikaanse hooggerechtshof. Het is belangrijk te benadrukken dat de populariteit van Miami bass mede tot stand kwam door de promotie van lokale dj's, radiostations en clubs. Het grootste deel van de jaren tachtig en begin jaren negentig waren de dj's intensief betrokken bij het spelen van Miami bass op lokale evenementen met veel publiek op stranden, parken en kermissen. Clubs in Zuid-Florida hielden regelmatig bassavonden. Miami bass is sterk gerelateerd aan het moderne genre ghettotech, dat Detroit techno and Chicago house combineert met Miami bass. Ghettotech kent ook dezelfde seksueel getinte teksten en hiphop-basslines. Miami Bass (também conhecido como Bass Music ou Miami Sound) é um subgênero do Hip Hop que tornou-se popular nos EUA e países da América Latina nos anos 80 e 90. Ele é conhecido por usar a batida continuada da caixa de ritmos Roland TR-808 e dança sincopada. O foco do Miami Bass era mais na proficiência dos DJ's em manipular instrumentais do que no conteúdo lírico em si, que era focado em temas sexuais e de festa.
dbp:culturalOrigins
-1980.0
dbp:derivatives
dbr:Southern_hip_hop dbr:Freestyle_music dbr:Funk_carioca
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dbr:Bounce_music
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foaf:isPrimaryTopicOf
wikipedia-en:Miami_bass