The Melding Pot (part 5 of 5)

Happy holidays everybody, I hope you've enjoyed this journey through the history of Hip Hop's sub-genres. Five parts later, The ride is over, but there is still quite a bit of ground to be covered before we officially (w)rap up. Enjoy the conclusion to the Melding Pot!

Miami Bass

Before the days of Crunk and Chopped & Screwed, Miami Bass was recognised as the signature sound not only in Florida but the entire Southern region of the United States. As the name suggests the music was all about the bass, the music was specifically for car stereo systems and clubs, which could pick up the incredibly low bassy frequencies that the producers specially crafted. This was opposed to their New York counterparts who created moody music perfect for headphones and home listening. As it grew in popularity, with one of the genres architects DJ Magic Mike from Orlando achieving gold and platinum status independently, it became known as the music for strip clubs.

With it’s pulsating fast-paced rhythms and suggestive lyrics it was the perfect music for gyrating women and overall wild behavior. The most recognised faces of the Miami Bass movement were the 2 Live Crew, lead by the controversial Luther Campbell (Uncle Luke), who achieved worldwide fame and infamy. The content of their music was brought to question by state authorities and was banned in several record stores across the Miami area, forcing Luke to defend himself and his groups right to free speech, becoming one of the most monumental moments in Miami Bass and overall Hip Hop history.

The sub-genre has remained a regional underground success and for the most part doesn’t exist anymore. While technically not Miami Bass artists, Atlanta’s Ying Yang Twins and Miami’s own Pitbull are following in the footsteps of Luke and company with their own brand of Miami Bass-influenced material.

Bounce

Separate from New York’s spectre and the lure of California was Louisiana. Instead of imitating, the region took it’s cue from artists in other areas, but also drew directly from the rich history of Big Band music, the signature sound of the city. A raw and funky musically rich base was the foundation of the production style, with elements of Mardi Gras, Jazz, Funk, R&B and Hip Hop. The lyrics were identifiable to the local area and had the same boisterous and out of control style that the city known as the 'Big Easy' itself was famous for.

It began as an underground sensation in the early 90’s bubbling on the streets, that is until a groundbreaking producer by the name of Mannie Fresh transformed the recently launched Ca$h Money Records from a Gangsta Rap-inclined label to the home of Bounce Music and Hip Hop in New Orleans. The meteoric rise kicked off with regional hits by Lil’ Slim and Pimp Daddy, finally reaching a national scale with the release of albums by the group UNLV, as well as the signing of local Bounce star soon to be national superstar Juvenile.

Ca$h Money became the premiere name in Bounce Music, although the equally monolithic No Limit Records run by Master P was more experienced and larger overall, albeit that No Limit focused on Gangsta Rap inspired material more than Bounce. As the overall Hip Hop scene grew bigger on a national and international scale, the inspiration and elements of Bounce Music were there, but it was moving away from the original style and becoming more worldly. While the term Bounce music may not be used as widely anymore and although less artists are defining their style within those parameters, the elements of it are there and it’s place of origin will never forget that Bounce music is what put the region on the map.

Crunk

Long before it became an overused and clichéd catchphrase, much like the term ‘bling bling’, Crunk music was the sound of Atlanta, Georgia. The origins of Crunk date back to 1996 and can trace it’s roots to Atlanta’s nightclubs, particularly to one DJ by the name of Jonathan Smith, otherwise known as Lil’ Jon. At first it began as an attitude and a state of mind, a term used to describe the behavior of the patrons and overall atmosphere in the clubs. After witnessing this first hand, Jon decided to create the soundtrack to this mind state, thus Crunk music was born, described by Jon himself as Heavy Metal for African-American people. Crunk is all about intensity and energy; basically going crazy.

With the exception of Lil’ Jon & The Eastside Boyz, Pastor Troy is hailed as one of the founding fathers of the Crunk movement, which has actually been the cause of a dispute between Jon and Troy for several years. The new generation of Crunk artists includes the likes of Lil’ Scrappy, Trillville and Crime Mob, with plenty of other artists jumping on the bandwagon and making Crunk-inspired material.

Hyphy

Crunk’s musical cousin by way of San Francisco, California is Hyphy. While it has similar ideals to Crunk, such as the exuberance and attitude, it is less about pent-up anger and screaming, with more focus on a heavy drum sound and lyrics about fast women, fast cars and wilding out on the dance-floor. Legendary West Coast beat-maker Rick Rock is the architect, as far as production is concerned, of the Hyphy movement with his protégés the Federation being the poster-boys.

Veterans such as Keak Da Sneak, E-40 and Too $hort co-signed the Bay Area-bred movement adding legitimacy to the cause. Even former commercial juggernaut MC Hammer had a foray into the Hyhphy style on his 2006 comeback release Look Look Look, although 'Mr. U Can’t Touch This' sounded quite ridiculous in doing so. The Hyphy practitioners haven’t had the same commercial success as their Atlanta brethren and the scene may currently be losing some steam, but with passionate artists and supporters at the helm it isn’t dead just yet.

Closing the lid

With all of the mutations and manipulations of Hip Hop music over the years there is one underlying fact, the power of Hip Hop to defy race, culture, creed and musical genres. It’s true that some of the styles experimented with were less than flattering to some of the musical genres (think Hip House). When all is send and done though, it only helps to reinforce that Hip Hop music is one giant cultural and musical melting pot, or should I say ‘melding pot’.

Peace and blessings!