Short answers, pulled from the story.
The 2nd of May 1986 marked the release of the single Throw The D by 2 Live Crew. This track established a permanent blueprint for how future Miami bass songs would be written and produced. The song exploded from the streets of Liberty City, Goulds, and Overtown.
James McCauley is often called the father of Miami bass, though he denies the title and prefers to confer that status on producer Amos Larkins. Amos Larkins produced the beats for MC ADE's Bass Rock Express, which is often credited as the first Miami bass record to gain underground popularity on an international scale. DJ Kurtis Mantronik also influenced the genre with his 1986 single Bass Machine.
The 1989 release of As Nasty As They Wanna Be by 2 Live Crew led to legal troubles and obscenity charges for both the group and retailers selling the album. The hit single Me So Horny became a symbol of the genre's unapologetic approach to sexuality and resulted in charges that were eventually overturned on appeal. This legal battle became a defining moment for free speech and the rights of artists to express the language of their communities.
Miami radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR and WPOW. Clubs in South Florida including Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club, and Club Boca hosted bass nights on a regular basis. Orlando also contributed to its promotion through 102 Jamz, a prominent radio station in the late 1980s.
Songs like Whoomp! There It Is by Tag Team in 1993, Tootsee Roll by 69 Boyz in 1994, C'mon N' Ride It The Train by the Quad City DJ's in 1996, and Whoot, There It Is by 95 South in 1993 reached the top 20 on the Billboard Hot 100 chart. These artists generally used a Miami bass sound and production but did it in a far less explicit and far more accessible way than had been previously done by Campbell and the 2 Live Crew. The genre's ability to adapt and evolve allowed it to survive the shifting tides of the music industry.
Car audio bass features an even more stripped down bass-heavy sound that tends to focus on either extremely hard 909 kicks combined with sine waves or the classic 808 kick. This subgenre represents the purest form of the Miami bass ethos where the music is designed to be felt through the chassis of a vehicle rather than heard through a speaker system. The focus on the Roland TR-909 and the sine wave created a sound that was so powerful it could shake the windows of a car and the bones of the listener.