Talk:Miami bass

Untitled

Would Trina be considered miami bass? ReverendG 00:57, 26 June 2006 (UTC)

Perpetrator and Frauds

I truly apreciate anyone who tried to support me in Getting my name in the history of MIAMI BASS correct But you know what i'm not upset any more because the more i enquire about this Wikipedia the more i'm finding out that most people in the industry take this wikipedia site as a joke anyway so it really doesn't matter anymore becuase serious people don't take this site seriously anyway but thanks fgor the support Amos Larkins

For the individual who wrote that he has never heard of AmosItalic text, once again it does a disservice to our music roots and culture. It saddens me that Amos must defend himself with his place in Bass history. What’s more unfortunate is the person who posted that he has never heard of Amos … has to be either A). A youngster in his 20’s or 30”s Or B). Someone who love the Miami Bass and has a decent collection and consider their self an aficionado with the sound; So Amos this Jason from heights … you know I was there … when we thought you were crazy when you first kick that beat! And there are many others out there … that know what you did to create this art form…… So don’t sweat the Perpetrators and Frauds; be I at peace knowing that you were the innovator and that there is a great deal of Us that know this too!

I reverted back to an earlier version of the article because there were many POV edits about a guy named Amos Larkins. They claimed that he was the "sole creator and pioneer" of Miami Bass, and edited the article to mainly focus on him. I'm from Miami and I've never heard of him to be a "big name" or very influential in the music scene. It's widely excepted that 2 Live Crew along with Uncle Luke/Luke Skyywalker were the pioneers of the genre. There were also many grammatical errors leading me to believe that the person who edited was sloppy and quick, and not interested in producing an accurate, informative addition to the article. Milk 20:09, 22 May 2005 (UTC)

This must stop the charades are over

I truly apreciate anyone who tried to support me in Getting my name in the history of MIAMI BASS correct But you know what i'm not upset any more because the more i enquire about this Wikipedia the more i'm finding out that most people in the industry take this wikipedia site as a joke anyway so it really doesn't matter anymore becuase serious people don't take this site seriously anyway but thanks fgor the support Amos Larkins

This person claims that he has never heard of me if that it the case. Well then he or she needs to reveal themselves like I am right know I challenge this person to confront me personally and prove this like I have proven myself. Not only that I have left my contact information I also live in Miami and I am willing to speak with this person face to face to argue the point. It is a known fact and everybody knows who I, Amos Larkins II and what part I played in pioneering Miami Bass. If any one needs anymore proof well they can also go to a well know Miami Bass historian who name is PaPa Wheeli who contact is : PappaWheelie@ElectroDiscoPunks.com Also you can contact Paul klien the president of empiremusicwerks a division on Universal music Call me and I will give his information personally. Know I dare the person to personally challenge me Amos Larkins II with this blatant attempt to re-write History. The charades are over I am here to personally set history of Miami Bass in it’s infancy streight once and for all. Who ever you are and I'm almost sure I know exactly who you are because only you would do something so underhanded and low. I Amos Larkins II is not the creator of Miami Bass HUH, I dare you

Again if anyone disputes what I say call me and I hope you do because I think I know just who you are with I line like then you aren’t from Miami. Also everybody click on my name Amos Larkins II and take a look at my productions

Larkins, your edits are full of typos first of all. The least you could do is use spell check and write a good addition. Secondly, if Larkins is such a pioneer in the genre how come a Goggle search provides almost no results when you search for his name? How come any other website that talks about the history of Miami Bass does not mention him either. I suggest you stop messing up Wikipedia, and find something else to do with your time, because these "charades" are childish and obviously false. Thanks. - Note to other users, I went ahead and reported this issue on Vandalism in Progress page. - Milk 21:07, 5 Jun 2005 (UTC)

STILL THIS PERSON WILL NOT NOT CONFRONT ME

Ok I have taken your advice to get everything grammatically correct. as far as seaching Google, try Yahoo, try Netscape i have never tried Google but i have never had a problem finding my name in the other two search engines. Enough to merly raise the question what exactly did he do? But the point is this I am still who I say I am grammatically incorrect or not. And you want to talk about vandalism.You say you live in Miami but your heading "Milk" states the youlive in chicago? anyway I’ve been away from the Miami Bass scene for fifteen years I never knew anybody still had such a follwing or cared until universal music confronted me about doing my Discography and even then i was still blind to the fact Becasue it took me two years to agree to do the project. And because people who had any little thing to do with it were so busy try to claim themselves as the pioneer, the father of the genre Miami Bass, When ever someone who was doing an article or writing a book ask about me everybody act like they didn't know how to find me or made seem like i just came Miami for the weekend like maybe our friend Milkdid. heck I never even attempted to put my name or the phrase Miami Bass in a search engine until January of this year 2005 when some writer who was interviewing me suggested that I do so. Because he said that the fans of the genre have no idea what major part I truly played. So only until two months ago me and a few other supporters are starting to streighten the truth out. I am sure that the people at Wikipedia understand that ever scince the begining of history there have always been poeple likeMilk attempting to alter history mistakingly or other wise. I will say this again, in my case the records don't lie and i mean literaly 12 inch records. every serious collector and enthusiast know my pseudonyms better that I do and my sound is unmistakably mine. That alone brands me and locks me in my rightful place in history it self. As far as the typos and grammatical mistakes i apoligize to Wikipedia but please putyourself in my shoes, for fifteen years you think nobody cares,you think to yourself "ah that's over let's move on" you have no idea of the real impact you have made.then as the years go by and everybody who was there even people who should have given you your recognition just mention you like you were just a breeze that went by and then fifteen years later you find out that you are dam near eraseed from history you are disapearing as though yur just a myth. My first reaction was not about grammer it was about keeping myself imortaly alive. getting back what was rightfully mine. I have a professional prove reader handling this for me as we speak and it should be done by this Wednesday 06/08/2005 and i will contact wikipedia when this is done. As far as this personMilkwho claims that he is from Miami and has never heard of me. They still won't revel themselves like I have so the question remains who are the vandals. Oh, and also to answer the question doing something better with my time I am fortunate to say that I do enough music to support my self still. And right now I couldn't think of a better way to spend my time than to straighten out my place in history can you Milk? What have you cliam to have done besides attempt to chip away my name off of evey stone in the city of Miami Bass so that i maybe erased from history, so that no one will remember me. i still don't see you reveling your self. I rest my case until the next episode. and i wish that i could meet you face to face.

If you would like to make changes to this article, please make them coherent and sourced. See Wikipedia:Cite your sources. If there are reputable sources confirming your importance in the development of Miami bass, that can be added to this article. Without reputable sources, anything you add may be removed. If you can not provide a reputable source for your claims, then I'm sorry but Wikipedia is not what you are looking for; we can only include information that has already been documented by others in a verifiable manner. Tuf-Kat 20:51, Jun 6, 2005 (UTC)

What I said was that I'm from Miami, not that I still live there, because yes, I currently live in Chicago. You said you've taken my advice about the grammatical errors, yet your last response is full of them, along with sentence fragments, and general nonsense. I agree with what Tuf-Kat has stated. Milk 04:57, 7 Jun 2005 (UTC)

SOON THERE WILL BE PLENTY OF REFERENCES

Amos larkins II i will not be erased from History not anywhere

I CAN LIVE WITH THIS

i think everything looks much better the only thing that's not correct is that i produced / not co produced Bass rock express but it's cool i'll justify this fact on my cd double CD that comming out in sept peace to who ever strighten this out

Rewrite

I have rewritten this article including only information found in a print source I have. I did so because there seems to be a lot of discrepancies on the subject on the web, so I think it's important to cite our sources here. If anybody would like to expand based on this old version, please cite the sources you used to confirm the material. Tuf-Kat 01:30, 16 December 2005 (UTC)

"sources"

Of all the entries I've touched/written on wikipedia, this is the one closest to me. I am the one and only Miami Bass historian in the world. I maintain frienships with all the artists themselves, which is where the info comes from...directly from their mouths. Any google search on the subject of Miami Bass will lead you to older articles I've written, which many were written before I became friends with many of these artists, so of course newer info is more accurate. Rewriting the article into this current version makes no sense, because you're pulling form my old articles, which are out of date. Your "sources" are my words from 3 years ago. My entry was from the same source (me), but it is more up to date as I've conducted many more interviews since then.

Allow me to annotate what you've written:

[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 black Miami ghettos such as Liberty City".]

Richie was paid to write that, and he consulted none of the artists/idustry cogs that make up Miami Bass (at least when I asked the artists, they denied speaking with him). The only writers to speak to a mass of Miami Bass artists has been Dave Tompkins, Roni Sarig, and myself. Dave and Roni got their contact info from me. Regardless of Utenbergers sources, his description of the genre is incredibly vague. Liberty City only represents a very small fraction of Miami Bass. The music itself formed mostly in Ft. Lauderdale at the "Royal Sounds" records store. I got that info by speaking with Boy Wonder, Cutmaster Crash, Vicki (4-Sight Records employee), DJ LSD, DXJ/james McCauley, MC ADE, DJ Eddie B, etc. Luke has said publicly that he wanted to start his label due to the success of 4-Sight Records, which grew out of Royal Sounds. The chronology here...

[Miami bass has never had consistent mainstream acceptance, but has had a profound impact on the development of drum'n'bass and Southern rap.]

Miami Bass *IS* Southern Rap. Mannie Fresh began his career making Miami Bass, along with Gregory D (who was signed to 4-Sight Records). Their 1987 debut album "Throwdown" is a 100% Miami Bass record, which I know because I bought it in 1987 when it came out, and I currently own it (just citing sources here, as requested). Lil Jon began his recording career in the mid-1990's making Miami Bass. Again, I bought this music as it was released and stil own it today. Basically, all Southern Rap evolved out of Miami Bass. Even Outkast has said that their early days was devoted to the likes of 2 Live Crew.

Unterberger has called Maggotron (James McCauley, also known as DXJ, Maggazulu 2, Planet Detroit and Bass Master Con) the "father of Miami bass".

James/Maggotron is one of my closest friends. This is not about "name dropping", but rather, "citing my sources" (as requested). James not only agrees with me that MC ADE made the first Miami Bass record, he's the one that planted that notion in my head. Also, we both are friends with Amos Larkins, and it's universally known that his proto bass records from 1984 are what sparked the whole thing. So in other words, how can Unterberger claim James to be the father of Bass when James is telling me that Amos and ADE are?

[He created the Miami bass sounds with vocoders and what Maggotron referred to as the "thrombic boomulator" to produce the distinctive low-pitched and distorted vocals.]

That is a type of Miami Bass known as Electro Bass, and James's sense of humor is such that he makes up nonsensical names for everything, and those names change daily. Citing one of his jokes as a factoid about Bass is ridiculous. The problem that this entry should be trying to tackle is the world at large thinks Miami Bass is either booty music, or electro bass. The truth is, it's both, and much more. My entry laid that out, while yours reduces it back down to this myth.

[In the 80s, the focus of Miami bass was on the DJs and record producers rather than the performers.]

This line sounds as if were trying to only credit DJ Magic Mike. Afro-Rican, Kooley C, 2 Live Crew, Gigolo Tony, etc. are the remembered artists from the 1980's Miami Bass scene. The DJ's usually did not eclispe the artist. Who thinks of Smurf Rock by Gigolo Tony song and says "oh, that's DJ Cutmaster Crash's song"?

[Record labels like Pandisc were also well-known.]

What does this even mean? A lot can be said for Miami labels and how they influeced the evolution of Bass (which I spelled out), but naming one and saying "it's also well known" is just confusing.

Luther Campbell, of the crew 2 Live Crew, did the most to popularize Miami bass in the late 1980s and early 1990s. Their The 2 Live Crew Is What We Are, released in 1986

Luke was not officially a member of 2 Liuve Crew in 1986. He was their manager, and became their stage hype man after the fact. This was told to me directly by 2 Live Crew's fouding member Mr. Mixx in a 3 hour phone interview a week ago. I realize you can't verify this with a google search, but that's because I'm the first to call him and ask these questions. Apparently, Utenberger did not, so maybe you should be trusting me one this one...

Honestly, I hope I'm not coming off as harsh here with my retort, but reducing an article form something that maps out the evolution of a subject down to paraphrasing one guy whose descritptions are clearly ambiguous is insulting, and justifying by saying you couldn't verify the info I wrote via google seems like a bit of a cop out. The bottom line on Miami Bass is, it's a regional music that has never been documented. Some writers have stepped up in an attempt to *describe it*, but I thought wikipedia isn't about blanket generalizations...rather, detailed info on the evolution of a subject.

I'm repacing the article I wrote, and I fully understand if it needs to be cleaned up...however, removing everything I wrote and replacing it with this is 100% illogical. If you need to ask me who told me such-and-such fact, please message me. I'll gladly quote the artist verbatim...but no google search will back that up.

Reverting

Tuf Kat, you are out of your area of expertise here. Joe's information is correct and is widely known among Miami Bass afficionado (and South Florida locals) as being correct. The article itself has been peer reviewed by almost everyone that was involved in Miami Bass and has also been published a few times, more than any other comprehensive article concerning Miami Bass. I am reverting your change - aside from the fact that it's "from a book" your information has no other authority behind it and your revision offers only a fraction of the information of the article's previous incarnation. - Eli_lilly

Please cite your sources so that they can be verified. It is policy to cite verifiable sources. Tuf-Kat 06:26, 17 December 2005 (UTC)

OK, we are reading up on the proper way to do citations and set up the "references" block and such. Eli Lilly

After leaving a message on Eli Lilly's talk page a few days ago, with no response, I have re-reverted to the version with sources. Tuf-Kat 18:37, 5 January 2006 (UTC)

The article is longstanding work created outside Wikipedia, when Joe gets to the point of adding sources and citations, perhaps he will bring the article back again once the required attributions and references are in place. Eli Lilly

Popular recorded music IS published and verifiable. When the writer names a group, song, and year, those are both the info and the verifiable sources. TUF-KAT's removal of this info is hardly justified. A re-write based on the info that was in my entry may've been, but the removal of all the info within the detailed entry and his replacement with this current entry is suspicious.

If your version is based on published and verifiable sources, and is not original research, then please cite those sources. Tuf-Kat 05:37, 17 January 2006 (UTC)

What a joke

This editing war and current entry are both a joke. You've chose beauracracy over music history, and you win. Those seeking info on Miami Bass here are just out of luck, thanks to your efforts.

Signed, The hissy hi-hats and stop start flavors

Now I see why everybody in the music industry preceive wikipedia as a joke

they do no research at all and go by the most uncredible sorces there are mainly speaking of Richie Unterberger this guys is totaly off he must have really needed that advance money i hope papa joe ghurry and gets his book out man thank god nobody in the music industry takes this wikipedia site seriously. --68.234.22.226 00:18, January 18, 2006

If you don't think Unterberger is a valid source, then please cite something better, in accordance with Wikipedia policy. Tuf-Kat 05:21, 18 January 2006 (UTC)

SOON PAPA JOE WHEELIE'S BOOK WILLSTREIGHTEN EVEYTHING OUT

But until that time, let me throw my 29 cents into tha mix on this. NO ONE PERSON "Invented" Miami bass. James McCauley is NOT the Godfather of Miami Bass, he is the self proclaimed (tongue and cheek) QUADFATHER of Miami Bass - but really what does that mean? James McCauley/DXJ/Magotron HAS NEVER SPOKEN TO R. UNTERBERGER. No disrepect to MR. Unterberger, but in this particular instance of his body of work - regarding Miami Bass - he obviously mailed in the small section on Miami Bass, as the body of the text regarding DXJ are basically ripped off from DAVE THOMKINS GRAND ROYAL MAGAZINE interview.

MR. Unterberger has never contacted DXJ/Maggotron. Pappawheele, Dave Thomkins,and Roni Sarig and others have actually taken the time to track Maggotron down, not Richie Unterberger.

Amos Larkins absolutley has to be included in any discussion regarding Miami Street/Electro/Bass music. Miami Street/Electro/Bass music would not have existed without Henry Stone's Decades old Framework in the Miami music world. Aside from being a talent in his own right, Amos worked for Henry. How anyone writing about ANY FORM of African American Music from Miami, especially from (but not limited to) 1970 and beyond can sidestep Henry Stone, and in this case, one of His Producers/Artists -Amos, is beyond comprehension. Pretty MUCH everyone down here Making Street/Bass/Rap/Electro in the Era being discussed had ties to Henry, on so many levels it isnt even debatable. This is not to say that Henry Invented Miami Bass, but rather to VERIFY AND VALIDATE what Amos has said on this topic, regarding his contributions.

While I'm at it, getting at Amos or anyone else here who is an artist for their typing skills or grammar is not warranted. as long as you understand the intent and content it shouldnt be brought up, at times my typing is poor- so what Iam not a TYPIST, AND SOMETIMES, time is limited for web actions.

Amos cranked out hit after hit before "Bass" was really called Bass, but EVERYONE in town, including DXJ tried to make songs to compete with his. Luke did not invent Miami Bass, he promoted his style of it -quite well. MC ADE gave the genre its name by making the first song all about "Bass Music" as the theme/concept.

All of what I wrote is "verifiable"

-----Authored by Maggotron/DXJ/ James McCauley the NOT Godfather of Miami Bass, despite what soem may have collected a paycheck for in writing so.

Wikipedia:Verifiability is an official policy of this website. Please provide a source that meets with that policy when you update this article. Tuf-Kat 23:41, 28 January 2006 (UTC)

Tuf-Kat again ignores the fact that popular recorded music is published and verifiable...

Citing liner notes and the like is fine. Tuf-Kat 23:01, 9 February 2006 (UTC)

Man, that +is+ Maggotron himself, disclaiming what was wrote in the article. The reason the current article has drawn such a (seemingly) significant volume of commentary is that the current article is flat-out absurd. It'd be like going to the wikipedia page for "cars" and seeing one sentence that reads "cars travel through the mars atmosphere by flapping their wings". Some of us commenting here live in south florida, have been around since the dawn of miami bass, and this article on Miami Bass is just flat-out annoying. There are ten-trillion articles on wikipedia with no source information, I don't see why you would pick a musical microniche in which to vigorously enforce this rule. I mean, look at the entry for crunk - its only reference is an urban-dictionary-ish link... No one wrote anything noteable +in print+ about Miami Bass, it was only commercially successful for a very brief period.

I know, I know... "wikipedia policy is to cite references and no original work"...

Eli Lilly

It doesn't have to be in print. It just has to be published -- the web is fine, CD liner notes is fine, interviews, newspaper articles. Surely there is some record? Tuf-Kat 04:52, 10 February 2006 (UTC)

"Published" - on the web is fine? I could re-gurgitate what I stated above about my web site. Hissy cymbals and all... Again you are hearing from one of the Artists, you are HEARING IT FROM THE PERSON NAMED... I know this is the internet and there are plenty of miscreants posing as people, but I am verifyable Tuff KAT..come on. James McCAULEY. Maggotron@aol.com Maggotron.com myspace.com/the_real_maggotron

As far as being published - my work has been published in the form of the music being discussed, otherwise I wouldnt be mentioned in the article. And again I will reiterate, the validity of the PUBLISHED article in Mr Unterbergers book is very suspect.

By the rules of the"policy" I could write and publish an article stating Hitler never stole a freight train and was an overall swell guy. A survivor of his crimes could post a reply and it would be bounced.

Citing Maggotron.com would be fine. I've put two footnotes into the article to give you an idea of how to do it. Anything that can be cited to Maggotron.com can be worked in. Tuf-Kat 09:52, 11 February 2006 (UTC)

Not just the liner notes...but the recording themselves are PUBLISHED (BMI, ASCAP, etc). The recordings are available to the world to hear and observe and to comment on. When people commented on those published and verifiable recordings here at wikipedia in this entry, TUF-KAT removed them, citing wikipedia's charter. Instead, Tuf-Kat could've altered the statements so that they totally met the charter, rather than remove the input altogehter and replacing it with absurd staements such as "hissy cymbals and start-stop flavor" (sic). I personally venture to guess that these actions of Tuf-Kat's area result of having become so annoyed with Amos Larkins input and discussion (and maybe others' after his) that he made this his pet project, hiding behind beauracracy in spite of a comprehensive history, which is the actual goal of wikipedia (I can repeat that a thousand times and it will never be overstated). I just read the excellent overview of Heavy Metal history, and although it does cite some sources that are in print, MUCH of the entry is observations from listening to the music itself, as well as citing opinions and impressions from the fan communities. These are the aspects Tuf-Kat has worked tirelessly on not allowing in this particular article, despite the plehtora of comprehensive, educational entries on wiki that do not cite a source for 100% of its content.

If you disagree with anything I've done, feel free to follow the dispute resolution process (I'll even help, if you want, or you can request assistance at Wikipedia:AMA Requests for Assistance. I don't see how you intend to cite a recording in line with verifiability, because recordings do not generally assert facts. All facts in Wikipedia should be cited to a source that asserts them. It is not appropriate for Wikipedians to comment on recordings and substitute these comments for verifiable historical and critical analysis because such commenting would constitute original research, which is strictly prohibited here. Tuf-Kat 22:24, 15 February 2006 (UTC)

And remember, you may cite something to Maggotron.com. Let me know if you need help to do so (casually looking around, I don't see any information that would be helpful here, but if you can find it, I'll help incorporate it into the article). Tuf-Kat 22:27, 15 February 2006 (UTC)

A solid fact is, E-mu released the sp1200 in late 1987. That info is found on many sites online, as well as being verified when we (the miami bass history community) called the company and verified it. The first record to use it was "Just Give the DJ a Break" in 1987. You can hear the sp1200 being used in the record because that piece of gear has a very specific sound (one which I question if you're acclumated with, therefore, have the authority to write about). Now Tuf-kat, you may be right in disputing that it is not a 100% proven by 100% of people in the world that this was the first Miami Bass record to use the sp1200, but much like other wonderful, comprehensive articles here, this claim could be rewritten to say "after release of the sp1200 in 1987, the sound of Miami Bass changed dramatically. The fans of the Miami Bass community believe the first signs of that sound was in the record 'Just Give the DJ a Break' released that same year." Instead, you replaced every piece of insightfulness with ridiculous statements such as 'sound marked by its start stop flavors and hissy cymbals'. We're not saying this is illegal...we're saying this is illogical. As stated before, articles such as Industrial Music or Heavy Metal all take into account things heard on records and fans' perspectives. If these are "strongly prohibited", why do those points remain on those great articles?

As stated before, fighting with someone who hides behind beauracracy in spite of the actual content is not an effective fight...so no, I don't need your help to get you peers to repremand you for following their orders. That suggestion is a ridiculous as the current entry. You have, and always will, win this fight. The wiki readers end up being the losers due to your enforcement.

Sincerly, The start stop flavors and hissy cymbals community

Let's Be Real

Let's be real here - The 2 Live Crew broke Miami Bass to the masses and became its most influential group in the genre (as well as one of the most influential groups in hip hop period). You definitely see Miami Bass' seeds in genres such as ghettotech (variety of ways to spell it), crunk, etc. It'd be a good read to have that Miami Bass history book handy.

BUT

let's not forget the real root - electro-funk. Electro-funk itself is a hodgepodge, influenced by Kraftwerk, George Clinton, EWF, etc. This genre also definitely influenced the lesser known hip hop subgenres/hybrids, etc., (hip house, early techno, trip hop, etc.)...or we'll just say the synths after being pioneered by people like Kraftwerk, Tangerine Dream, Beatles, Monkees, Stevie Wonder, Pete Townshend, Wendy Carlos, Karlheinz Stockhausen, etc. etc. :)

Amos Larkins prod:

Connie: Funky Little Beat (Nezz/Sunnyview) Connie: Rock Me (Sunnyview) Cynthia Roundtree: Got to be Next to You

I see you did some Latin freestyle songs as well.

Cursory glance

Cursory glance at the article and there's no mention of Kraftwerk, electro, the Detroit electro (just "ghetto tech" - a late 90s term), the LA style (Arabian Prince), 70s funk.

IMHO the clueless quote "Hissy cymbals and stop start rythms" should be deleted and replaced with a musicological description, and the note that Kraftwerk invented this type of dance rhythm with "Numbers".

If you can WP:CITE a source to that effect, please add it to the article. Tuf-Kat 01:23, 9 August 2006 (UTC)

why so strong ref to booty bass?

The first para (and much of this entry) as of 14:01, 18 July 2010 (UTC) seem to overly focus on Booty Bass. All due respect to 2 Live Crew, even though I was a fan, my experience was that their branch of Miami Bass was relatively limited. Refering to tech/techno/electro bass acts like Power Supply, Techmaster PEB, and likely the total of DM Records artists only as "Car Audio Bass" is ridiculous at best. —Preceding unsigned comment added by Tsnake (talk • contribs)

• I agree, my understanding of the term "Miami bass" included those artists like Techmaster P.E.B., Bass 305, Dynamix II, and did not include booty bass like any of the Luke Records stable or others that would go on to evolve into Dirty South (which I think 2LC has a lot more in common with / influence on), Crunk, etc. But I can't find a cite. I do clearly remember though that in its heyday, "Miami Bass" was the genre that you used to differentiate this music from hip hop. What we're thinking of is, as you pointed out, is much more electro and turntable oriented and non-lyrical and overall much less obsessed with lyrical shock value. I'm at a loss. - Keith D. Tyler ¶ 22:06, 25 January 2019 (UTC)

Moved from references

The following comment was inline as a reference on the article page, which does not seem to be the appropriate place for it. It is reproduced below: —Wiki Wikardo 18:39, 19 January 2013 (UTC)

It has come to the attention of my self and others in this genre that at times in print and other media sources that I Maggotron /DXJ/ James MCCauley Invented the genre of Miami Bass - do not get it twisted - No one purely of their own accord "invented it" especially not me, the "Miami Street Music/Electro /Bass" scene has had many talented people involved in it as it progressed through the various styles and flavors of the artists and producers, if I had to name a ground zero though for the genre - I would defiantly state that Amos Larkins is that ground zero - NOT Pretty Tony, NOT Luke, Not any one else that many try to mention. The Miami music Tree ( in terms of the recording business - Record Labels etc) is very simple: Henry Stone's contributions are absolute historical fact. Amos Larkins was part of Henry's Empire . Also, Amos Larkins credited or un-credted was on so many of the Early Releases of the Genre in one form or another it is not even close, if there is a ground zero Amos is it. Maggotron.com states it under the Bio as well. — Preceding unsigned comment added by Invisoclam (talk • contribs) 00:37, 30 December 2010 (UTC)

References

New sources

Additional sources from VICE/THUMP:

Florida History

• 1. https://thump.vice.com/en_us/topic/miami-bass
  • A. https://thump.vice.com/en_us/track/alpha-606-afro-cuban-electronic-stream-bmg-interview
  • B. https://thump.vice.com/en_us/article/tootsie-rolls-hoochie-mamas-and-cars-that-go-boom-the-story-of-miami-bass
  • C. https://thump.vice.com/en_us/article/happy-colors-is-at-the-bleeding-edge-of-miamis-booming-edm-culture
• 2. https://thump.vice.com/en_us/article/florida-breaks-in-the-1990s-beats-get-sleazy-in-the-weirdo-armpit-of-america
• 3. https://thump.vice.com/en_us/article/the-essential-rave-nightclubs-of-floridian-history
• 4. https://thump.vice.com/en_us/article/trippy-chems-and-strange-moogs-schematic-idm-and-the-beginning-of-miamis-downtown-music-scene
• 5. https://thump.vice.com/en_us/article/setting-the-bar-how-florida-music-festivals-became-the-standard-of-the-american-dance-experience
• 6. https://thump.vice.com/en_us/article/90s-djs-where-are-they-now

Johnvr4 (talk) 13:08, 27 February 2017 (UTC) Johnvr4 (talk) 13:08, 27 February 2017 (UTC)