The Melody Web what each genre heard, and what it passed on

heard passed on Click or tap a node to recenter. Use a connecting line, or Influence, for the story.

Heard

Electro genre · 1982–

Miami bass keeps electro’s 808 machine grid and turns the kick into the product.

Influence
Hip-hop genre · 1973–

Miami bass is hip-hop’s Miami club child: same MC and 12-inch, a louder 808.

Influence

Miami bass

style · 1985–

Also called booty bass

Mid-1980s Miami club rap: 808 boom, fast tempos, and chanted hooks (2 Live Crew, Maggotron). It hears Electro for the machine grid and Hip-hop for the MC. It gives Crunk the Atlanta club child and New Orleans bounce the 808 chant-club chassis. Booty bass leftover as an alias on this node. “Southern rap” leftover as a catch-all.

Listen

  1. Throw The D 2 Live Crew (1986) YouTube · Spotify · Amazon
  2. Bass Machine Maggotron (1986) YouTube
  3. Whoomp! (There It Is) Tag Team (1993) YouTube · Spotify · Amazon
  4. C'mon N' Ride It (The Train) Quad City DJ's (1996) YouTube · Spotify · Amazon
  5. Me So Horny 2 Live Crew (1989) YouTube · Spotify · Amazon

Passed on

Crunk style · 1997–

Crunk keeps Miami bass’s booming 808 and chanted club hook and slows it for Atlanta.

Influence
New Orleans bounce style · 1991–

New Orleans bounce hears Miami bass’s 808 boom and chant-club job, then localizes it with second-line crowd call and the Triggerman cell.

Influence

Electro → Miami bass

meter and groovetimbre and productionfunction and contextstrength: highwell documented1985–1990recordingoraldance

Mechanism

Miami bass keeps electro’s 808 machine grid and turns the kick into the product. Strength high. Hip-hop hops wait on the bass node.

Evidence

Mid-1980s Miami 12-inches against NY/Detroit electro; Grove on the named style.

Debate

Whether this is only hip-hop. The machine parent is electro; the MC job is hip-hop.

Mediators

artist: 2 Live Crew

Hip-hop → Miami bass

performance practiceform and structurefunction and contextstrength: highwell documented1985–1990recordingoraldance

Mechanism

Miami bass is hip-hop’s Miami club child: same MC and 12-inch, a louder 808. Strength high. Electro is the machine parent.

Evidence

2 Live Crew and Maggotron against NY electro-rap; Grove on the named style.

Debate

Whether it is only electro. The MC job and the rap market make the hip-hop hop.

Mediators

artist: 2 Live Crew

Miami bass → Crunk

meter and groovetimbre and productionfunction and contextstrength: mediumwell documented1997–2004recordingradiodance

Mechanism

Crunk keeps Miami bass’s booming 808 and chanted club hook and slows it for Atlanta. Strength medium. Hip-hop is the umbrella; this hop is the Southern club 808.

Evidence

Lil Jon–era chants against 1990s booty-bass 12-inches; Starr on that Southern club line.

Debate

Whether Memphis crunk is a second parent. Memphis is a sibling hinge; this hop is the Miami 808 share.

Mediators

artist: Lil Jon

Miami bass → New Orleans bounce

meter and groovetimbre and productionfunction and contextstrength: mediumscholarly consensus1991–1998recordingradiodance

Mechanism

New Orleans bounce hears Miami bass’s 808 boom and chant-club job, then localizes it with second-line crowd call and the Triggerman cell. Strength medium. hip hop new orleans bounce is the rap parent; new orleans second line new orleans bounce is the parade-crowd hop. This edge is the Southern bass-club chassis.

Evidence

Early-1990s New Orleans tapes in a Miami-bass club economy; Cash Money-era national sides; Chang and Starr–Waterman on the Southern bass circuit.

Debate

Whether bounce is only local hip-hop plus second line. The 808 boom and party-chant pacing are Miami bass’s club export before bounce names itself.

Mediators

artist: DJ Irv; community: New Orleans club DJs