Girls, Girls, Girls is the fourth studio album by the American glam metal band M. The album contains a more blused riffed style. Journal of Popular Music Studies(This essay appears in JPMS Vol. The Global South)By David Font- Navarrete “Everlasting Bass” mural by Chor Boogie and Trek Six at the corner of NW 6th Avenue and 2. Street, Miami. From party DJs turning their bass knobs way up to rap producers laying down 8.
His records were the ones that made me say, . And I loved the energy of them. RUBIN: Me too. DIPLO: And that was Florida music and the Atlanta music, like Lil Jon. But I came from that era, and that was what got me into wanting to produce . In this article, I consider Bass through processes of abstraction: musical abstraction by which genres can be defined by sounds, tonal forms, or rhythmic patterns; rhetorical abstraction by which words lose old meanings and acquire new ones, or new terms are coined; historical and political abstraction by which real people and places become myths and symbols; and cultural abstraction. From this admittedly and unapologetically Miami- centric point of departure, I explore a more recent process by which Bass has become a musical kaleidoscope whose complex, vague dimensions tend to obscure vital historical context. Notional versions of Bass have crossed the Atlantic several times and moved back and forth between esoteric undergrounds and a ubiquitous mainstream. Here, I follow the migration of Miami Bass in two complementary directions: moving North, it blended into a generic black, Southern, and US musical lexicon which infused a legion of the last decade? The word itself is an abstraction. As a proper name for genres and subgenres, Bass has acquired an exquisite ambiguity, referring to a variety of US- based rap and hip hop, as well as a myriad of music emanating from the UK. Like Funk or Jazz, the taxonomy and discourse of Bass shapeshift constantly: it is characterized by paradox, ambiguity, and abstraction. But these musical and cultural phenomena seem to follow a distinct pattern: genres radiate outward from local communities; genres. Instead of codifying a linear, moralistic, or cut- and- dry mechanism for the phenomenon of Global Bass, abstraction suggests a layered and multifaceted view that accounts for both historical specifics and ambiguous symbolism. While other writers have approached various Bass genres from valuable critical perspectives, this article explicitly connects the genres to each other, thereby drawing connections between the genres. Here we go, first love begins as feelings start to creep into friendships, and everyone gets their wires a little crossed along the way. Our heroine experiences. TMG Consolidated Series Album Discography (1982-1988) by David Edwards, Mike Callahan and Patrice Eyries Last update: July 30, 2012 Starting in January 1982, the. Empty Nest was a spinoff of The Golden Girls. Created by Susan Harris (Soap, Benson, The Golden Girls) this series centered around Dr. In other words, I adopt abstraction as a tool to understand relationships between evident and opaque aspects of cultural phenomena. My account extends a narrative arc drawn in Robert Farris Thompson. During the 1. 98. Miami Bass was intimately associated with the city. And while Rap and Hip Hop have indeed become an increasingly strong center of gravity for much of the world. Beyond musical taxonomy, these dynamic curves. I begin this story of Bass in Miami. Processes of abstraction offer a valuable way to understand some of the larger forces at work. In this respect, two complementary types of abstraction are particularly useful: (i) generalizations distinct from concrete realities, and (ii) withdrawal or separation. Applying both senses of the word, the gradual abstraction of Bass represents a detachment of musical materials from their cultural, historical, and geographic sources, as well as a detachment of musical materials from explicit notions of blackness. In this respect, cliche . The paradox at the heart of the article is that processes of abstraction might encourage us to consider real sounds and people in a more intimate and thoughtful way. Let us consider that a prelude and begin properly, like so much mythology, with The Sound. Since the 1. 98. 0s, electronic percussion and synthesizers in the very low frequency spectrum have come to characterize a number of musical genres and subgenres. Amplified by large loudspeakers dedicated to relaying low frequencies (subwoofers), the physical qualities of these sounds. Although this spectrum of sound can contain fascinating melodic material, it is usually more tactile than auditory. It is felt more than heard, and it depends on amplification. These far- reaching, amplified, low- end frequencies have gradually become one of the defining features of public spectacles, including music concerts, dance clubs, sporting events, and movie theaters. There is something intrinsically public about music that places low frequencies in the foreground: deeper sound waves travel further and more persistently, asserting themselves in the environment. The sounds of the Roland TR- 8. Rhythm Composer electronic drum machine. Heard and (more to the point) felt through subwoofers, the pure electronic sine waves of the 8. More recently and much more generally, the sounds of the 8. Dirty South and a motley, ever- growing assortment of other genres, subgenres, and subsubgenres. While low- frequency sounds are the most iconic feature of Miami Bass, other 8. Additionally, short loops of samples (often higher in pitch than the original versions), a hyper tempo (anywhere from 1. Like any other musical genre, Miami Bass can be distilled to the point of abstraction. The musical DNA sequence of Miami Bass is clearly a composite of Disco and Funk, but it also descends more or less directly from two seminal tracks: Afrika Bambaataa. Regardless of their points of origin, some elemental percussive patterns. For Miami Bass and Electro, a simple sequence of bass and snare drum sounds conjures a dense musical network: The Roland TR- 8. Rhythm Composer and an elemental Miami Bass pattern visualized in its original manual. Similarly, I would like to continue to . Notably, Sarig makes it clear that the Caribbean influence on Miami Bass is primarily West Indian, not Latin. For the moment, it is important to recognize that Miami. In the racial algebra of the US South, Hispanics might be either Black or White, but Black and White are mutually exclusive. To both insiders and outsiders, Miami represents a particularly complex, layered cartography: the city is variously and simultaneously North and South. As Sam Beebe pointed out recently, Miami is . Indeed, scratching away at the surface layers of Miami. Bass simultaneously expands and recedes as a cultural emblem of Miami at various scales. But beyond Miami, permutations of Bass remain emblematic of more subtle, malleable symbolism identified with Miami. In this sense, Bass is a vivid example of a subtle, racially charged cultural flux that characterizes North- South dichotomies. Miami has a well- deserved reputation as the northernmost Latin American city, a bright beacon beckoning both tourists and retirees from the North and immigrants from the South with force magnetic. It is a refuge from points further Up and Down on the world map and the social ladder. Miami is also the southern- most city of the US South, perpetually divided by insidious racial politics that characterize the region. From the earnest fantasy of Akon. What do we find behind backdrop of music videos, beyond the city. By setting the stage for the Dirty South, the sound and symbolism of Miami Bass made a lasting impact on popular music, the genre. A basic understanding of the historical context which gave rise to Miami Bass is essential to understanding its formation and legacy. Even a very rough sketch of Miami. The highways ran through Overtown, allowing traffic to pass over the once- thriving neighborhood without stopping, effectively strangling the neighborhood geographically and economically. Crime and poverty increased dramatically throughout the 1. African- American families moved en masse from Overtown to Liberty City (just north and adjacent to Overtown and Miami. Overtown and Liberty City declined and took shape as Miami. In May 1. 98. 0, an all- white jury acquitted the four police officers involved of all wrongdoing in Mc. Duffie. Throughout the rest of the decade, a staggering influx of capital flowed into Miami via the cocaine trade between Latin America and the United States. Taken as a whole, the early 1. Miami. Instead, Miami Bass emerged as the definitive musical emblem of 1. Miami. The attitude, lyrics, and values of the music are lighthearted: it is essentially party music. In its early days booming over outdoor parties and roller skating rinks full of teenagers, the music was a continuation of the Roller Disco craze of the late 1. But as the genre became more distinct and gathered momentum during the 1. Miami found their way to the center of the US South. The trial included testimony from historian Henry Louis Gates, Jr., who argued 2 Live Crew should be understood within the context of African- American traditions of coding and parody. Quoted in a New York Times report, Campbell emphasized the distance between 2 Live Crew and the jury members who would help decide the group. Nonetheless, the dissemination of Miami Bass had serious consequences: songs like . Aside from its role in mainstream popular music and culture, it is worth considering some of the less popular, insular aspects of Miami Bass, several of which continue to resonate in subtle ways more than two decades later. Interlude: (Real- Time and Historical) Sounds of Ducking, Feedback, and Compression. Local histories tend to recede and fade surprisingly quickly from collective memory, but they offer listeners a capacity to fathom musical sounds. Miami Bass was and (at least in some ways) remains both widely known and ultra- local: it enjoyed a brief period of regional and national prominence, but awareness of its cultural and historical role appears to be receding rapidly. There is no doubt that the decades immediately preceding the emergence of Miami Bass can be characterized by conspicuous racial conflicts. Establishing the historical origins of Bass in Miami, we can discern some of the symbolic patterns that persist in later iterations of Bass: tangible places and events become abstract afterimages of tropical urban landscapes, infused with sexuality and danger. On the ground, the most vibrant .
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