Various Miami Bass Classics Volume 4 Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Various Miami Bass Classics Volume 4 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: Miami Bass Classics Volume 4 Country: US Style: Miami Bass, Electro, Bass Music MP3 version RAR size: 1200 mb FLAC version RAR size: 1538 mb WMA version RAR size: 1905 mb Rating: 4.6 Votes: 387 Other Formats: AIFF VOX AU MPC MP4 MP3 XM Tracklist 1 –L.A. Dream Team The Dream Team Is In The House 5:02 2 –Sir Mix-A-Lot Square Dance Rap 4:46 3 –Dynamix II Feel The Bass 5:40 4 –Rodney O & Joe Cooley Supercuts (Yeah Boy) 4:52 5 –The 2 Live Crew Move Somethin' 5:19 6 –The 2 Live Crew Throw The D. And Ghetto Bass 5:19 7 –Anquette Shake It (Do The 61st) 4:50 8 –The Megatrons Rock The Planet 5:51 9 –World Class Wreckin' Cru Juice 5:48 10 –Chilla Frauste Get Up, Get Down, Get Funky, Get Loose 5:35 Credits Edited By, Remix – Edwin Bautista Notes This CD contains the tracks from these two releases on vinyl: Miami Bass Classics Vol. 7 - MB-7 12" Miami Bass Classics Vol. 8 - MB-8 12" Related Music albums to Miami Bass Classics Volume 4 by Various Various - The Miami Bass Express Maggotron Crushing Crew - Miami's Rockin' Baby (Miami Jams) Two Live Crew - Move Somthin' 2 Live Crew, The - Shake A Lil' Somethin'.... The 2 Live Crew - Greatest Hits Various - Dre's Drugstore 3rd bass - hip hop part classics Various - Aquarius Disco Vol.1 Bass Generator - Judgement Day Classics (Volume Two) Luke Featuring The 2 Live Crew - Do The Bart Dynamix II - Bass Planet Dynamix II / Dynamix II With $ MC Kid Money $ - Techno Bass / Feel The Bass.

Copy Link

Recommended publications

Garage House Music Whats up with That
Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
[Show full text]
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signiﬁers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3.
[Show full text]
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
[Show full text]
B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
[Show full text]
'You Never Been on a Ride Like This Befo'
[PMH 4.2 (2010) 160-176] Popular Music History (print) ISSN 1740-7133 doi:10.1558/pomh.v4i2.160 Popular Music History (online) ISSN 1743-1646 Justin A. Williams ‘You never been on a ride like this befo’: Los Angeles, automotive listening, and Dr. Dre’s ‘G-Funk’* Justin Williams is currently a Principal Lecturer in Department of Music and Popular Music at Anglia Ruskin University. He recently Performing Arts completed an ESRC-funded Postdoctoral Fellowship Anglia Ruskin University to research a project on music and automobility at the East Road Centre for Mobilities Research at Lancaster University. Cambridge CB1 1PT He is currently under contract from University of Mich- [email protected] igan Press to write a book on musical borrowing and intertextuality in hip-hop music. Abstract Since the 1920s, multiple historically specific factors led to the automobile-saturated environ- ment of Los Angeles, contributing to a car-dependent lifestyle for most of its inhabitants. With car travel as its primary mode of mobility, and as a hub of numerous cultural industries through- out the twentieth century, the city has been the breeding ground for a number of car cultures, including hot rods, custom cars, and lowriders in addition to the large output of films and music recordings produced. In rap music of the early 1990s, producer/rapper Dr. Dre’s (Andre Romelle Young) creation of a style labelled ‘G-funk’, according to him, was created and mixed specifically for listening in car stereo systems. This article provides one case study of music’s intersections with geography, both the influence of urban geography on music production and the geogra- phy of particular listening spaces.
[Show full text]
Wingstop Gives Fans the Summer Festival Experience They Crave with Wingstop Wing Day
PRESS RELEASE Wingstop Gives Fans the Summer Festival Experience They Crave with Wingstop Wing Day 7/21/2020 The Wing Experts Will Give Away Free Wings and Host 24-Hour International DJ Festival Livestream on July 29 DALLAS, July 21, 2020 /PRNewswire/ -- Wingstop Inc. (NASDAQ: WING), the award-winning restaurant brand with more than 1,400 locations worldwide, is hosting Wingstop Wing Day (WSWD) on their rightful holiday, also known as National Chicken Wing Day, this July 29 via a virtual, international festival experience like no other. The brand will give guests ve free wings with any online wing purchase made through Wingstop's website using the code "5FreeWings"1 or with any wing purchase made in-restaurant at participating locations worldwide. With summer festivals canceled all over the world, Wingstop will revive the music, memories, and vibes of fans' favorite summer fest with all the passion and avor people expect from the Wing Experts. Starting at 12:01 a.m. EDT on July 29, Wingstop will give fans the summer festival experience they crave with a 24-hour international DJ festival livestream, featuring an impressive lineup of DJs curated by DJ Jazzy Je. Fans across the world can watch the sets on www.wingstopwingday.com, which will air throughout the day. "Wingstop is more than a meal, it's a avor experience you crave, look forward to and aren't soon to forget – very similar to that of your favorite festival or concert," said chief marketing ocer Christina Clarke. "With many summer plans canceled, we're launching WSWD, a avor-lled digital festival to celebrate our fans by providing them with an amazing international DJ lineup and ve free wings to fuel their day." The international lineup includes the following popular DJs: 12:01 a.m.
[Show full text]
1 GRAAT On-Line Occasional Papers – December 2008 Representing The
GRAAT On-Line Occasional Papers – December 2008 Representing the Dirty South: Parochialism in Rap Music David Diallo Université Montesquieu – Bordeaux IV In this article, divided into two parts, I examine the parochial discourse of rap musicians from the Dirty South and study its symbolic stakes through a socio- historical analysis of hip-hop’s cultural practices. First, I address the importance for Southern hip hop musicians of mentioning their geographic origins. They develop slang, fashion style, musical and lyrical structures meant to represent the Dirty South. In part II, I examine the Dirty South rap scene, and point out some of its characteristics and idiosyncrasies. Rap historians generally consider that, before 1979, hip hop was a local phenomenon that had spread out geographically in poor neighborhoods around New York (Ogg 2002, Fernando 1994, George 2001). Chronologically, Kool Herc, using the principle of Jamaican sound system, defined the norms of reference for hip hop deejaying and determined the standard way to accomplish this practice. His style and technique established the elemental structure of rap music and determined the “proper” way to make rap. It is particularly interesting to note that the emerging sound system scene in the Bronx was spatially distributed as follows. Kool Herc had the West Side, Afrika Bambaataa had Bronx River, and Grandmaster Flash had the South Bronx, from 138 th Street up to Gun Hill. This parting of the Bronx into sectors (DJs’ territories) distinguished the locations that covered the key operative areas for the competing 1 sound systems. This spatial distribution reveals rap music’s particular relationship to specified places.
[Show full text]
“Where the Mix Is Perfect”: Voices
“WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE by Carleton S. Gholz B.A., Macalester College, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Carleton S. Gholz It was defended on April 11, 2011 and approved by Professor Brent Malin, Department of Communication Professor Andrew Weintraub, Department of Music Professor William Fusfield, Department of Communication Professor Shanara Reid-Brinkley, Department of Communication Dissertation Advisor: Professor Ronald J. Zboray, Department of Communication ii Copyright © by Carleton S. Gholz 2011 iii “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE Carleton S. Gholz, PhD University of Pittsburgh, 2011 In recent years, the city of Detroit’s economic struggles, including its cultural expressions, have become focal points for discussing the health of the American dream. However, this discussion has rarely strayed from the use of hackneyed factory metaphors, worn-out success-and-failure stories, and an ever-narrowing cast of characters. The result is that the common sense understanding of Detroit’s musical and cultural legacy tends to end in 1972 with the departure of Motown Records from the city to Los Angeles, if not even earlier in the aftermath of the riot / uprising of 1967. In “‘Where The Mix Is Perfect’: Voices From The Post-Motown Soundscape,” I provide an oral history of Detroit’s post-Motown aural history and in the process make available a new urban imaginary for judging the city’s wellbeing.
[Show full text]
Sound Morphologies, Concrescence and Neurosis in the Genesis of an EDM Beat
A Danceable Shower of Bullets: Sound Morphologies, Concrescence and Neurosis in the Genesis of an EDM Beat Feature Article Carlos Palombini Universidade Federal de Minas Gerais (UFMG) (Brazil) Universidade Federal do Estado do Rio de Janeiro (UNIRIO) (Brazil) Abstract The processes that lead fromvolt-mix to tamborzão, two bases (beats) of funk carioca (funk from the greater Rio de Janeiro city), are analysed with reference to Pierre Schaeffer’s typo-morphology of sonic objects (1966). Such transformations are viewed as instances of Gilbert Simondon’s concretization (1958). They are synchronous with changes in the geopolitics and human geography of bailes funk (funk dances). As the volt-mix morphs into the tamborzão, the epicentre of these events moves from clubs in the suburbs and periphery to favelas, and funkeiros (funksters) become subjected to tensions arising from control of their spaces by rival factions of illicit substance retailers. These shifts coincide with the rise of a human character, theneurótico (neurotic), and with the collective feeling of neurose (neurosis) associated with circulating in those territories. Keywords: electronic dance music analysis; sound morphology; anthropology of sound Carlos Palombini obtained his Ph.D. in music from the University of Durham with the thesis “Pierre Schaeffer’s Typo-Morphology of Sonic Objects” in 1993. He is currently professor of musicology in the Federal University of Minas Gerais (UFMG), a member of the Master’s and Ph.D. programme in music of the Federal University of the Rio
[Show full text]
Hip Hop Bass Mix Download
Hip hop bass mix download "Knuckles Up" is bass heavy with smashing snares and wild synths taking The mix is packed with punches of hard-hitting bass and explosive trap bangers. 25 Hip hop & Trap records for your Sunday turn up / turn down. Remix). Download Young Jeezy – Me OK (JayCeeOh & Baby Yu Remix). Free song download Trap And Bass Hip Hop And Rnb Mix To start this download you need to click on [Download] Button. We have about 24 mp3 files. Now, if you like funky hip hop, the stuff with good breaks and funky beats, then grab yourself a copy today. It's free to download and available in Mp3 and Flac. Description. Trap,Hip-Hop & Rap Mix | Best Hits Of | Bass Boosted Follow MISS TRAP Channel: https. Big collection of hip hop bass.. ringtones for phone and tablet. All high quality mobile ringtones are available for free download. Description. Like my Facebook page Follow Me on Also Can Also download all these mixes. Download s of Hip Hop Songs, Tunes, Tracks, Beats & Mixes by Genre. This is another track with some chill feel in it with strong bass.. Hope you Will like. +Playlist & Download below+ Massive Trap, Hip Hop, Bass and Reaggae set, mixed by dj banx for. hip hop bass ringtones for mobile phones - most downloaded last month - Free download on , 3d, airtel, bangla, english, hindi, hiphop, love, remix, sms. This mix explores the deepest elements of drum & bass music on a hour long journey into the mind. Put on your Podcast: Play in new window | Download.
[Show full text]
Radical Riddims PR-Mitteilung Eng 21.05.2011
Contact: www.radicalriddims.de [email protected] [email protected] 0177 - 70 76 490 (Christine Lang) DUBSTEP, BASSLINE, BOUNCE, BAILE FUNK, KUDURO, KWAITO, COUPÉ DECALÉ, BREAKBEAT, CUMBIA DIGITAL, DANCEHALL, UK FUNKY... WORLDMUSIC 2.0... may 21th, 2011 ¡RADICAL RIDDIMS! - Global Ghetto Tech June 10 – 18, 2011 Schau Fenster Gallery & Ritter Butzke, Berlin Kreuzberg Over a period of nine days, the event ¡RADICAL RIDDIMS! - Global Ghetto Tech will be devoted to heavy bass music styles like Baile Funk, Miami Bass, New Orleans Bounce, Baltimore Club, Chicago Juke, and Coupé Décalé, as well as Kuduro from Angola, South African Kwaito, British Dubstep and 2step, and Bassline from Sheffield. All these musical strands represent a form of ‘positive’ cultural globalization and are among the most promising and pioneering innovations in pop and dance music as well as global club culture. As part of the sound system and dancehall cultures of the favelas, townships and banlieus, these ultra- referential and hybrid music styles are largely produced on cheap digital equipment. Distributed quickly over the internet to an eager global audience, these musical genres then make their way into hyper-hybrid music styles. In co-operation with Schau Fenster gallery and Ritter Butzke club, we have invited protagonists from a range of urban musical hotspots to the German capital for a get-together with the corresponding Berlin scene. The musical line-up will be accompanied by an exhibition of international video works, documentary films and lectures, in which we will spotlight on the various local musical scenes and ‘hyper hybrid’ club music, as well as discuss the connections and disparities between key concepts like regionality and globality, citation and original creation, copyright and authorship, digitality, internet and web cultures, as well as the phenomenon of image transfer in popular culture.
[Show full text]
The History of Rock Music - the Eighties
The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) DJs, Rappers, Ravers (These are excerpts from my book "A History of Rock and Dance Music") One of the problems with the 1980s was that, by the end of the decade, a "rocker" was as obsolete a social and musical figure as a pop singer had been in 1956. During the 1980s three revolutions took hold of popular music: the emergence of disc-jockeys as a creative force (in particular in techno music), the advent of hip-hop (and therefore of the "rapper"), and the marriage of industrial music, heavy metal and hardcore (generically associated with the "cyber-punk" culture). Rap-music 1979-87 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The idea of rapping was imported into New York by the Jamaican immigrants, who were already familiar with "toasting" (a reggae artist talking in rhyme over the instrumental sections of a record). Some of them became disc-jockeys ("dj") that traveled around New York carrying their "sound system" to perform at block parties. In 1975 in the Bronx of New York, one of them, Clive "Hercules" Campbell, or "Kool Herc", started making music with two turntables out of breakbeats (the instrumental breaks of a song that focused on the rhythm section, the favorite part of the song for most dancers), while another young black man of the Bronx, Theodore "Grand Wizard" Livingstone was accidentally discovering the "skratching" sound of a turntable.
[Show full text]