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

Hip-hop genre · 1973–

Bounce keeps hip-hop’s MC, DJ, and party function and localizes the chant and the beat.

Influence
Miami bass style · 1985–

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
New Orleans second line practice · 1890–

Bounce keeps the second line’s crowd chant and dancing-first job on a drum-machine 12-inch.

Influence

New Orleans bounce

style · 1991–

Also called bounce

Kind of Hip-hop

New Orleans club hip-hop: call-and-response chants, a dancing crowd, and (often) the Triggerman / Drag Rap beat. It is a style of hip-hop. It hears Hip-hop as the rap parent, New Orleans second line for the parade-and-crowd job, and Miami bass for the 808 boom and chant-club chassis. New Orleans R&B leftover as a bin, not a node. The Triggerman cell leftover as a hip-hop sample, not a second origin. Sissy bounce leftover as a later wing on this node. “Southern rap” leftover as a catch-all. Empty Given is historically checked: later New Orleans club rap stays here.

Listen

  1. Where Dey At MC T. Tucker and DJ Irv (1991) YouTube
  2. Shake Fa Ya Hood Partners-N-Crime (1999)
  3. Back That Azz Up Juvenile (1998) YouTube · Amazon
  4. Nolia Clap Juvenile, Skip, and Wacko (2004) YouTube · Spotify
  5. Slow Motion Juvenile (2004) YouTube · Spotify · Amazon

Passed on

Nothing in the corpus yet that this genre passed on.

Hip-hop → New Orleans bounce

performance practicefunction and contextmeter and groovestrength: highwell documented1991–1999oralrecordingdance

Mechanism

Bounce keeps hip-hop’s MC, DJ, and party function and localizes the chant and the beat. Strength high. Second-line hops wait on the bounce node.

Evidence

Early-1990s New Orleans tapes; Grove on bounce as a named hip-hop style.

Debate

Whether bounce is more parade than rap. It is a hip-hop child that also hears local dance.

Mediators

artist: MC T. Tucker; community: New Orleans clubs

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

New Orleans second line → New Orleans bounce

function and contextperformance practicemeter and groovestrength: mediumwell documented1991–1999oraldancerecording

Mechanism

Bounce keeps the second line’s crowd chant and dancing-first job on a drum-machine 12-inch. Strength medium. Hip-hop is the rap parent; this hop is the local parade body.

Evidence

Early-1990s bounce tapes against living second-line practice; Grove on that New Orleans dance continuity.

Debate

Whether the Triggerman beat already covers it. The beat is a hip-hop sample; the chant-and-crowd job is the second-line hop.

Mediators

community: New Orleans clubs and block parties