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is assumed they are homophobic. Additionally, groups internationally have acted as though the gay-rights criticism of homophobic dancehall songs or artists is not important to Black communities. This represents the anti-Black and anti-gay attitude that work to erase intersectional Black LGBTQ+ identities. In fact, many LGBTQ+ Black people, particularly with connections to
Jamaica, continue to experience the complexities of dancehall music, both culturally important and at times deeply violent. This is demonstrated in the film "Out and Bad: London's LGBT Dancehall Scene" which discusses the experience of a group of LGBTQ+ Black, and mostly Jamaican, people in London. Dancehall is important to their culture, both in connection with Jamaican heritage and in how social interactions are constructed around dance and music. However, it is discussed how many dancehall songs contain homophobic and transphobic lyrics. One interviewee comments "We still enjoy ourselves to these kinds of music because the rhythm of the music, the beat, the way the music makes us feel."
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explains: "We are queens, we are not afraid to go out there to do what we want to, demand what we want, and to live how we want, and represent women all over the world and to let them know it is okay to be yourself and that it is ok to not hold back" Raquel, also known as
Dancing Princess, describes her ability to communicate through the dancehall: "What you've lived, what you feel, put it in the dance. That's what dance is, expressing with your body what you feel and who you are. (...) dancehall is the way of the woman to say no, I am a woman respect me." As evidenced by these women, dancehall is a space that allows for women to be empowered and to communicate their liberation from the boundaries imposed on them. Rather by negotiating their own boundaries in the dancehall, by taking control of their bodies, and by communicating their power, they are demanding respect when confronted by those who do not believe they deserve it.
1432:. He notes that dancehall is not merely a sphere of passive consumerism, but rather is an alternative sphere of active cultural production that acts as a means through which black lower-class youth articulate and project a distinct identity in local, national, and global contexts. Through dancehall, ghetto youths attempt to deal with the endemic problems of poverty, racism, and violence, and in this sense the dancehall acts as a communication center, a relay station, a site where black lower-class culture attains its deepest expression. Thus, dancehall in Jamaica is yet another example of the way that the music and dance cultures of the African diaspora have challenged the passive consumerism of mass cultural forms, such as recorded music, by creating a sphere of active cultural production that potentially may transform the prevailing hegemony of society.
1552:, written in 2004, dancehall music and its following were frequently attacked for frequent references to guns and violence in lyrics, with Cooper responding by arguing that the emergence of firearms was less a sign of genuinely violent undercurrents in dancehall and more a theatrical adoption of the role of guns as tools of power. That ties into the concepts of the badman, a defiant, rebellious figure who often use a gun to maintain a level of respect and fear. Said concepts, Cooper argues, originate in historical resistance to slavery and emulation of imported films, specifically North American action films with gun-wielding protagonists.
1261:,' first recorded in 1967 for a song of the same name, being used in at least 269 songs by 2006 over the course of 39 years. Peter Manuel and Wayne Marshall noted in 2006 that most songs were set to one of about a dozen riddims that were in vogue, with the exceptions being the work of individual, often high-ranked, artists. Recording over riddims forms the basis of dancehall, with modern dancehall layering vocals over ostinatos; the DJs providing the vocals thus, in the words of Manuel and Marshall, carry the song, unlike older dancehall where vocals were interwoven with full songs.
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fact, some of the songs used during dancehall sessions contain blatant homophobic lyrics. Ellis argues, however, this explicit, violent rhetoric is what creates a space for queer expression in
Jamaica. She describes the phenomenon of all male dance groups that have sprung up within the dancehall scene. These crews dress in matching, tight clothing, often paired with makeup and dyed hair, traditional hallmarks of queerness within Jamaican culture. When they perform together, it is the bodily performance that give the homosexual dancers power.
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registers a dialectic between queer and gay that is never resolved, that relays back and forth, producing an uncertainty about sexual identity and behavior that is usefully maintained in the
Jamaican popular cultural context." In discussion of the possibility of a self identifying homosexual dancer performing to homophobic music she writes, "In appropriating the culture and working from within its very center, he produces a bodily performance that gains him power. It is the power or mastery, of parody, and of getting away with it."
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played, the environment of dancehall spaces can become serious and individuals can use the opportunity to reinstate their allegiance to heteronormativity. These songs thus act to "consecrate" the spaces as straight and masculine. In the safety this ritualized hetero-normativity creates, the space may be opened to more free expression and participants can then more openly engage with styles and dancing that might have been seen as queer. Ellis writes: "The songs are played; no one is 'gay'; everyone can turn a blind eye."
1607:"Stop Murder Music" is/was a movement against homophobia in dancehall music. This movement actively targeted homophobia in dancehall music and was partially initiated by a controversial UK based group OutRage! and supported by the Black Gay Men's Advisory Group (UK based) and J-Flag (Jamaica based). It led to some dancehall artists signing the Reggae Compassionate Act. Dancehall artist Mista Majah P has created dancehall music more recently that celebrates and advocates for LGBTQ+ people.
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location. This location was always an open-air venue from which DJs and later "Toasters", a precursor to MCs, could perform their original mixes and songs for their audience via their sound systems. The openness of the venue paired with the innately mobile nature of the sound system, allowed performers to come to the people. Inner city communities were able to gather for fun and celebration. It was all about experiencing a vibrant and trendsetting movement.
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896:, with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first digital rhythm in reggae, featuring a rhythm from a digital keyboard. However, The "Sleng Teng" rhythm was used in over 200 subsequent recordings. This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment.
882:'s borders. The main appeal of Dancehall was the music, and so it gained a lot of popularity overtime. Back in Jamaica hand-made posters were used not just to pull in would-be attendees to parties and dances. This process of making vibrant and colorful posters soon became an icon of the genre. It had helped in providing visual aesthetic of how Dancehalls had taken up the space and grown in the country.
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contradictory and competitive as it is sacred. Some of
Jamaica's significant memories of itself are inscribed in the dancehall space, and therefore dancehall can be seen as a site of collective memory that functions as ritualized memorializing, a memory bank of the old, new, and dynamic bodily movements, spaces, performers, and performance aesthetics of the New World and Jamaica in particular.
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indicative of
European urban styling and high fashion that suggest wealth and status. Since the late 1990s, males in the dancehall culture have rivalled their female counterparts to look fashioned and styled. The female dancehall divas are all scantily clad, or dressed in spandex outfits that accentuate more than cover the shape of the body. In the documentary
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with their own original sounds. With the extreme volume and low bass frequencies of the sound systems local people might very well feel the vibrations of the sounds before they could even hear them, though the sound itself did travel for miles. This visceral sensory pleasure acted as an auditory beacon, redefining musical experience.
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and were affected by anti-Black attitudes in the music industry internationally. Many artists have over time apologized for their mistreatment of LGBTQ+ communities, particularly in
Jamaica, and agreed to not use anti-gay lyrics nor continue to perform or profit off their previously anti-gay music.
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Adding to the concept of gunfire as theatrical element is the use of gunfire as a way to show support for a performing DJ or singer, which eventually gave way to flashing cigarette lighters, displaying glowing cellphone monitors, and igniting aerosol sprays. Gunfire as a form of cheering has extended
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and Rygin King are known as some of the most profound and active artists of this period to date. There have also been prominent global collaborations with dancehall artist such as
Beyonce & Shatta Wale's 'Already', Davido & Popcaan on 'Story', and Stefflon Don & French Montana on 'Hurtin'
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were overtaken by lyrics about dancing, violence and sexuality. Though the revolutionary spirit was present in
Jamaica due to this social upheaval, the radio was very conservative and failed to play the people's music. It was this gap that the sound system was able to fill with music that the average
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Dancehall music, also called ragga or dub, is a style of
Jamaican popular music that had its genesis in the political turbulence of the late 1970s and became Jamaica's dominant music in the 1980s and ’90s. It was also originally called Bashment music when Jamaican dancehalls began to gain popularity.
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influence as well. Dancehall culture in Jamaica often included imagery of men dressing and dancing in a way stereotypically associated with gay-male style. However, the cultural, religious, and social gender-norms continued to advance the ideal man as macho and heterosexual, any divergence from this
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This newfound materialism and conspicuity was not, however, exclusive to women or manner of dress. Appearance at dance halls was exceedingly important to acceptance by peers and encompassed everything from clothing and jewelry, to the types of vehicles driven, to the sizes of each respective gang or
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presentations from Muhammad Ali. InnerCity Promotions was responsible for establishing and promoting numerous events, their first DanceHall concert was staged in 1984. This was significant because it marked the beginnings of the music's recognition as the "DanceHall" genre. Mr. Tomlinson recalls the
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In contrast to roots reggae, which aimed for respectability and international recognition, dancehall did not hesitate in dealing with the day-by-day realities and basal interests of the average Jamaican—especially that of lower classes—and observing society in a provocative, gritty, and often vulgar
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saw another shift, this time back towards Rastafari and cultural themes, with several of the hardcore slack ragga artists finding religion, and the "conscious ragga" scene becoming an increasingly popular movement. A new generation of singers and deejays emerged that harked back to the roots reggae
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The global treatment of dancehall can often represent the continued anti-Black association of homophobia with Blackness. For example, dancehall artists that have not used anti-gay lyrics and even write music advocating for gay rights have been excluded internationally from certain spaces because it
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The popularity of dancehall has spawned dance moves that help to make parties and stage performances more energetic. Dancing is an integral part of bass culture genres. As people felt the music in the crowded dancehall venues, they would do a variety of dances. Eventually, dancehall artists started
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Ellis not only examines the intersection of queerness and masculinity within the Jamaican dancehall scene, but suggests that the overt homophobia of certain dancehall music actually creates a space for queer expression. In general, homosexuality and queerness are still stigmatized in dancehalls. In
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Donna P. Hope defines dancehall culture as a "space for the cultural creation and dissemination of symbols and ideologies that reflect the lived realities of its adherents, particularly those from the inner cities of Jamaica." Dancehall culture actively creates a space for its "affectors" (creators
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These practices' roots can be described with the concept of families of resemblance as coined by George Lipsitz in 1986 – similarities between other groups' experiences and cultures (Lipsitz, p. 160). Here, the term might describe the links between different artists via shared riddims and
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The series continued into the early 1990s, the team Mike Tomlinson and Lois Grant played an important role in nurturing and promoting the young talents of the inner city and sound system culture of that era. Through their DanceHall live concerts, many performers found a place to use their voice and
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At this point the Dancehall genre was still growing in global popularity. InnerCity Promotions Led by Mike Tomlinson And Lois Grant played a very significant role in the development of Jamaica's popular "DanceHall" music. Their promotion company through a series of concerts led to the then emerging
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At the onset of the dancehall scene, sound systems were the only way that some Jamaican audiences might hear the latest songs from a popular artist. Through time, it transformed to where the purveyors of the sound systems were the artists themselves and they became whom the people came to see along
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Part of the criticism of Jamaican dancehall appears to be the product of cultural clash stemming from a lack of insider knowledge on the nuances of the music's content and the culture surrounding said music. This struggle is something ethnomusicologists struggle with, even within an academic
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Dancehall occupies multiple spatial dimensions (urban, street, police, marginal, gendered, performance, liminal, memorializing, communal), which are revealed through the nature and type of events and venues, and their use and function. Most notable is the way in which dancehall occupies a liminal
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Such a drastic change in the popular music of the region generated an equally radical transformation in fashion trends, specifically those of its female faction. In lieu of traditional, modest "rootsy" styles, as dictated by Rastafari-inspired gender roles; women began donning flashy, revealing –
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Jamaica was one of the first cultures to pioneer the concept of remixing. As a result, production level and sound system quality were critical to Jamaica's budding music industry. Since many locals couldn't afford sound systems in their home, listening to one at a dance party or at a festival was
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The Jamaican dancehall scene was one created out of creativity and a desire for accessibility, and one that is inseparable from sound system culture. The term 'Dancehall', while now typically used in reference to the specific and uniquely Jamaican genre of music, originally referred to a physical
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Some authors have suggested that this duality, the presentation of "queerness," in dance style and dress, and the violent homophobia, in dancehall spaces can be explained by the ritualistic "doing away with 'homosexuality'." Scholar Nadia Ellis suggests that when songs with homophobic lyrics are
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Some artists agreed not to use anti-gay lyrics during their concerts in certain countries internationally because their concerts kept being protested and cancelled. However, this fails to address the most serious effects of the anti-gay lyrics in dancehall music which are on the LGBTQ+ people of
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A single riddim can be used in multiple songs, paired with different sets of lyrics, and the inverse is also possible with a single set of lyrics being attached to different riddims. Riddims and lyric sets are not exclusive to any one artist, and these can be and are spread around with one
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further expresses the experience of this trendsetting movement and how particularly women were able to confront gender ideologies to enact change. The use of video light specifically was a way to express oneself and seek visibility in the social sphere in order to be recognized as citizens in a
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states that sound systems were a product of Jamaican social lifestyle. The success of music wasn't just in the hands of one person anymore, it was a factor of the DJ, speaking poetic words to the audience, the Selector, harmonizing beats in an aesthetically pleasing way, and the Sound Engineer,
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Dancehalls are used to communicate messages of women's power and control in a protest against their gendered experience embedded in Jamaican culture. Danger, a dancehall queen and the winner of the International Dancehall Queen Competition in 2014, expresses her power through dancehalls as she
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Scholars have theorized around the significance and meaning around the use of anti-gay lyrics in dancehall music. Donna P. Hope argues that dancehall culture's anti-gay lyrics formed part of a macho discussion that advanced the interest of the heterosexual male in Jamaica, which is a Christian
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as a dominant feature of life in Jamaica, coupled with the role of new media and a liberalized media landscape, where images become of increasing importance in the lives of ordinary Jamaicans who strive for celebrity and superstar status on the stages of dancehall and Jamaican popular culture.
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Nadia Ellis explicates the culture of combined homophobia and unabashed queerness within Jamaican dancehall culture. She details the particular importance of the phrase "out and bad" to Jamaica when she writes, "This phrase is of queer hermeneutical possibility in Jamaican dancehall because it
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Sound systems and the development of other musical technology heavily influenced dancehall music. The music needed to "get where the radio didn't reach" because Jamaicans often were outside without radios. Yet they eventually found their way into the streets. However, because the audience of
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After the popularizing of Buju Banton's dancehall song "Boom Bye Bye" in the early 1990s, dancehall music came under criticism from international organizations and individuals over anti-gay lyrics. In some cases, dancehall artists whose music featured anti-gay lyrics have had their concerts
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Another point of dissension of dancehall from reggae, and from its non-western roots in Jamaica, is on the focus on materialism. Dancehall has also become popular in regions such as Ghana and Panama. Prominent males in the dancehall scene are expected to dress in very expensive casual wear,
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In the early days of dancehall, the prerecorded rhythm tracks (bass guitar and drums) or "dub" that the deejay would rap or "toast" over came from earlier reggae songs from the 1960s and 1970s. Ragga, specifically, refers to modern dancehall, where a deejay particularly toasts over digital
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Dancehall is ultimately a celebration of the disenfranchised selves in postcolonial Jamaica that occupy and creatively sustain that space. Structured by the urban, a space that is limited, limiting, and marginal yet central to communal, even national, identity, dancehall's identity is as
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By the early 2000s, Dancehall had gained mainstream popularity in Jamaica, as well as in the United States, Canada, Australasia and Western parts of Europe. There was also a big evolution in sound allowing artists to refine and broaden the genre. This was first seen with artists such as
797:'s peak. Yellowman often incorporated sexually explicit lyrics into his songs, which became known as "slackness." He did this to address his radical opinions on society through sex and politics due to the failed Jamaican experiment of socialism while under Prime Minister Michael Manley.
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dancehall sessions were lower-class people, it was extremely important that they be able to hear music. Sound systems allowed people to listen to music without having to buy a radio. Therefore, the dancehall culture grew as the use of technology and sound systems got better.
1244:, instrumentals to which lyrics are added, resulting in an unusual process of creating songs from separate components. More specifically, many riddims are created using digital instruments like the MT-40, a practice that first became popular in 1985 with the release of '
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how "insider" and "outsider" viewpoints would reveal different understandings on the same music. Indeed, Nettl later mentions growing questions of who ethnomusicological studies benefited, especially from the groups being studied. And even then, in
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said, "if 1970s reggae was red, green and gold, then in the next decade it was gold chains". It was far removed from reggae's gentle roots and culture, and there was much debate among purists as to whether it should be considered an extension of reggae.
1510:, which combines thuggish imagery with Rastafari is according to Rasta critics, an example of how in dancehall, "the misuse of Rastafari culture has diluted and marginalised the central tenets and creed of the Rastafari philosophy and way of life".
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of dancehall culture) and its "affectees" (consumers of dancehall culture) to take control of their own representation, contest conventional relationships of power, and exercise some level of cultural, social and even political autonomy.
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argues that one could be the best DJ or the smoothest dancer, but if one wears clothing that reflects the economic realities of the majority of the partygoers, one will be ignored, and later Beenie Man returned to perform as Ras Moses.
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Donna P. Hope "The British Link Up Crew – Consumption Masquerading as Masculinity in the Dancehall" in Interventions: International Journal of Postcolonial Studies Special Issue on Jamaican Popular Culture, 6.1: April, 2004, pp.
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doing things to stand out, such as putting on a synthetic cartoonish voice or donning pink highlights while constantly re-asserting hypermasculine attributes. Donna P. Hope argues that this trend is related to the rise of market
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albums, featuring rival deejays /or sound systems competing head-to-head for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that came with such rivalries.
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to create songs that either invented new dances or formalized some moves done by dancehall goers. Many dance moves seen in hip hop videos are actually variations of dancehall dances. Examples of such dances are: "
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lyrics within dancehall, which objectified women as apparatuses of pleasure. These women would team up with others to form "modeling posses", or "dancehall model" groups, and informally compete with their rivals.
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Yellowman, one of the most successful early dancehall artists, became the first Jamaican deejay to be signed to a major American record label, and for a time enjoyed a level of popularity in Jamaica to rival
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Donna P. Hope "From Boom Bye Bye to Chi Chi Man: Exploring Homophobia in Jamaican Dancehall, Culture", in Journal of the University College of the Cayman Islands (JUCCI), Volume 3, Issue 3, August 2009, pp.
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to release his debut album 'Where We Come From'. This saw huge commercial success and went on to receive a UK MOBO award for Best Reggae Album in 2015. The year of 2016 saw Popcaan's rival-artist
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776:" which is now known as the deejay's seductive chant, part talking and part singing. Deejay records became, for the first time, more important than records featuring singers. Another trend was
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1473:" ,"Bad Man Forward Bad Man Pull Up", "Keeping it Jiggy", "Pon Di River", "One Drop", "Whine & Kotch", "Bubbling", "Tic Toc", "Willie Bounce", "Wacky Dip", "Screetchie", "One Vice" and "
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wiring the sound systems to handle deeper and louder bass tones. Music became a factor of many elements and the physicality of that sound was a strategic puzzle left for musicians to solve.
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Dancehall saw a new wave of popularity in Western markets in the mid-late 2010s, with immense commercial success being achieved by a number of dancehall-pop singles, including Rihanna's "
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Objects and events that are external to the body are more important than internal processes; what is seen is more important than what is thought (i.e., the pre-eminence of the external)
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manner. Since this put spreading via radio out of the question, dancehall initially gained popularity only through live performances in sound systems and specialized record dealing.
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Donna P. Hope "I Came to Take My Place: Contemporary Discourses of Rastafari in Jamaican Dancehall" in Revista Brasileira Do Caribe, Volume 9, No. 18, January–June 2009, pp. 401–423
1599:'s 1993 hit "Boom Bye Bye" advocates the violent assaults and murders of gay people. Another example, T.O.K.'s song "Chi Chi Man" which advocates the killing of gay men and women.
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Jamaican was more interested in. Alongside this music was the addition of the fashion, art, and dance that came along with it. This made Dancehall both a genre, and a way of life.
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style, which had dominated much of the 1970s. In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "
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Dancehall's violent lyrics, which garnered the genre much criticism since its very inception, stem from the political turbulence and gang violence of late 1970s Jamaica.
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Henriques, J. (2008). Sonic diaspora, vibrations, and rhythm: thinking through the sounding of the Jamaican dancehall session. African and Black Diaspora, 1(2), 215–236.
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590:. It both refers to the music and dance style. It faced criticism for negatively influencing Jamaican culture and portraying gangster lifestyles in a praiseworthy way.
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1028:." Alongside this growth many crews were formed by men, women or a mixture of both. These crews created their own dances which developed fame in the Dancehall scene.
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opposition received from journalist, radio and TV managers at the time, some who refused to run the commercials or play the music to promote the DanceHall series.
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make a mark due to the opportunities afforded by InnerCity Promotions. This is from the International Reggae Awards special awarded honors(irawma awards).
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release his debut album 'New Level Unlocked' under DJ Frass Records, which topped the charts in Jamaica, as well as being well received in the US and UK.
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Nearing the end of the '80s Jamaican Dancehall artists gained a lot of appeal through their no-nonsense music. This expanded the genre's reach beyond the
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space between what is celebrated and at the same time denigrated in Jamaica and how it moves from private community to public and commercial enterprise.
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communities. In the 2000s, dancehall experienced worldwide mainstream success, and by the 2010s, it began to heavily influence the work of established
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towards a style geared more towards local consumption and in tune with the music that Jamaicans had experienced when sound systems performed live.
1075:, some of whom saw international success. This success brought forward mainstream appeal toward Dancehall which lead into the genre's modern era.
728:, Silver Hawk, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power and Aces International soon capitalized on the new sound and introduced a new wave of
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Kingsley Stewart "So Wha, Mi Nuh Fi Live To?: Interpreting Violence in Jamaica Through Dancehall Culture", Ideaz Vol. 1, No. 1, 2002: pp. 17–28
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music from which they labelled, "DanceHall." The team started a series called "Saturday Night Live" at Harbour View Drive-In. US soul group
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The backlash to Banton's violently anti-gay "Boom Bye-Bye", and the reality of Kingston's violence which saw the deaths of deejays
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Dancehall combines elements of materialism and stories of hardships of Jamaica. This is seen in the use of gun talk by artists like
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Kingsley Stewart outlines ten of the major cultural imperatives or principles that constitute the dancehall worldview. They are:
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At this point it was a part of the public consciousness. Cross-genre collaborations soon became normalized, with songs such as
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Kingsley Stewart points out that artists sometimes feel an "imperative to transcend the normal", exemplified by artists like
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In the late 2010s, a new wave of artists rose to popularity in Jamaica. These artists come from rural parishes, especially
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The faster tempo and simpler electronic beat of late-1980s and early-1990s dancehall greatly influenced the development of
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However, Cooper's assessment of the presence of guns in Jamaican dancehall is not wholly uncritical, with a discussion of
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197:") becoming increasingly characterized by faster rhythms. Key elements of dancehall music include its extensive use of
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Dancehall saw initial mainstream success in Jamaica in the 1980s, and by the 1990s, it became increasingly popular in
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1095:" (2016). Dancehall also reached the attention of many R&B artists who continued to change and evolve the genre.
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Unlike earlier Dancehall, this new evolution was characterized by structures of music commonly heard in mainstream
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1563:'Mr. Nine' interpreting the song as a denouncement of what Cooper describes as gun culture gone out of control.
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beyond dancehall culture with the phrase "pram, pram!" becoming a general expression of approval or support.
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Kingsley Stewart "So Wha, Mi Nuh Fi Live To?: Interpreting Violence in Jamaica Through Dancehall Culture",
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Donna P. Hope. Inna di Dancehall: Popular Culture and the Politics of Identity in Jamaica. UWI Press, 2006.
1206:. This is well in-tune with the boost of urban acts in the UK rising up, and the rebirth of Grime in 2014.
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Donna P. Hope Inna di Dancehall: Popular Culture and the Politics of Identity in Jamaica. UWI Press, 2006
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in their lyrics. Some of the most popular artists in this style are Chronic Law, Rygin King, and Squash.
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their entry into audible bliss. Stage shows were also an entry for exposing artists to bigger audiences.
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Donna P. Hope. Man Vibes: Masculinities in the Jamaican Dancehall. Kingston: Ian Randle Publishers, 2010
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Ellis, Nadia (July 2011). "Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall".
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Donna P. Hope Man Vibes: Masculinities in the Jamaican Dancehall. Kingston: Ian Randle Publishers, 2010
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Ellis, Nadia (July 2011). "Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall".
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was incarcerated in 2011. It has been said that Popcaan's success is largely due to early support from
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Three major elements of Jamaican dancehall music are the use of digital instruments, particularly the
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Donna P. Hope. Man Vibes: Masculinities in Jamaican Dancehall. Kingston: Ian Randle Publishers, 2010.
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artists and producers, which has helped to further bring the genre into the Western music mainstream.
3648:"Reggae Stars Renounce Homophobia, Condemn Anti-gay Violence |Gay News|Gay Blog Towleroad"
131:
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It involves the socioexistential imperative to transcend the normal (i.e., there is an emphasis on
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Since 2017, Dancehall artists from Jamaica have been frequently collaborating with UK acts such as
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Some of the affected singers believed that legal or commercial sanctions were an attack against
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cancelled. Various singers were investigated by international law enforcement agencies such as
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The importance of the external self; the self is consciously publicly constructed and validated
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Barrow, Steve & Dalton, Peter (2004) "The Rough Guide to Reggae, 3rd edn.", Rough Guides,
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3683:"'I've Got You Under My Skin' Queer assemblages, lyrical nostalgia and the African diaspora"
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Will, Jay, and Janet Ginsburg. Bruk out! A Dancehall Queen Documentary. Video Disco, 2017.
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Ellis, Nadia, "Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall."
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A variety of western artists have spoken of being inspired by Dancehall music, including
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They began in the late 1970s among lower and working-class people from the inner city of
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3619:"Reggae stars renounce homophobia – Beenie Man, Sizzla and Capleton sign deal (Jamaica)"
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sometimes X-rated outfits. This transformation is said to coincide with the influx of
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The early 1980s also saw the emergence of female deejays in dancehall music, such as
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that originated in the late 1970s. Initially, dancehall was a more sparse version of
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These same notions of dancehall as a cultural space are echoed in Norman Stolzoff's
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This shift in style again saw the emergence of a new generation of artists, such as
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With a little help from deejay sound, "sweet sing" (falsetto voice) singers such as
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3824:"How Jamaican Dancehall Queens Twerk For A Living | Style Out There | Refinery29"
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3009:"International News – Spate of broken penises caused by dance style "daggering""
1797:"Sean Paul: 'Drake and Bieber do dancehall but don't credit where it came from'"
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The quickest way to an object is the preferred way (i.e., the speed imperative)
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2774:"The riddim method: aesthetics, practice, and ownership in Jamaican dancehall"
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Lipsitz, George (1986). "Sound Clash: Jamaican Dancehall Culture at Large".
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would be identified as inadequate and impure portraits of true masculinity.
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1469:", "Sweep", "Nuh Behavior", "Nuh Linga", "Skip to My Lou", "Gully Creepa", "
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artists have also released material inspired by dancehall music, including
1001:. Some lyrics were cleaner and featured less sexual content and profanity.
626:), were reflected in the shift away from the more internationally oriented
2611:"Vybz Kartel Speaks: After Five Years in Prison, He Still Rules Dancehall"
1174:
By 2016, Dancehall had re-emerged into global popularity, artists such as
4286:
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4266:
3466:""Stop Murder Music" Blocks Sizzla and Elephant Man Canadian Performance"
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1669:
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1632:
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1437:
Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall
1052:
983:" (2003) became the first dancehall single to reach number one on the US
980:
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856:
841:
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331:
326:
1733:"Rihanna Was Making 'Tropical House' Before Justin Bieber — It's Called"
1398:, in her article "Mapping Black Atlantic Performance Geographies", says
4076:
4035:
3590:"A First In Reggae: Singer Mista Majah P Speaks Gay Rights In New Song"
3557:"A First In Reggae: Singer Mista Majah P Speaks Gay Rights In New Song"
3039:"Erotic "daggering" dance craze causing bodily harm – The Courier-Mail"
1303: in this section. Unsourced material may be challenged and removed.
1265:
lyric sets and through common experiences incorporated into the music.
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2120:
Thompson, Dave (2002) "Reggae & Caribbean Music", Backbeat Books,
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3902:
2582:"Meet the Producers Who Brought Dancehall Back to the Charts In 2016"
1942:"Meet the Producers Who Brought Dancehall Back to the Charts In 2016"
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3349:"Denmark: Activist campaigns against online sales of 'murder music'"
2093:
Sound clash: Jamaican dancehall culture at large By Carolyn Cooper,
1031:
Some of the artists who popularised this new era of Dancehall were
4256:
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2292:"Beyond dancehall: Exploring its influences, impact, and identity"
1419:
1349:
It acts as a form of stress release or psycho-physiological relief
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1203:
1126:, who has cited Vybz Kartel as one of his "biggest inspirations."
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Wake the Town & Tell the People: Dancehall Culture in Jamaica
3859:
3378:"Sizzla – Reggae Industry To Ban Homophobia – Contactmusic News"
3875:
3866:
2936:
Wake the Town and Tell the People: Dancehall Culture in Jamaica
2923:
Wake the Town and Tell the People: Dancehall Culture in Jamaica
2436:
2198:
Reggae, Rasta, revolution : Jamaican music from ska to dub
1370:
The ideal self is shifting, fluid, adaptive, and malleable, and
3075:
1340:
1272:
945:, Wycliffe "Steely" Johnson and Cleveland "Clevie" Brown (aka
321:
71:
30:
This article is about the genre of music. For other uses, see
2150:
Last Night a DJ Saved My Life: the History of the Disc Jockey
712:
headlined the initial concert and the showcase also featured
3495:"village voice > music > Jah Division by Elena Oumano"
3270:
The study of ethnomusicology : thirty-three discussions
2688:"Trap dancehall isn't going anywhere, say genre's producers"
1159:
and it is much debated who is the new Dancehall King, since
764:— a change reflected by the 1981 Junjo Lawes-produced album
3239:(1st ed.). New York: Palgrave Macmillan. p. 154.
586:
in which popular Jamaican recordings were played by local
3871:
3317:
May it fill your soul : experiencing Bulgarian music
3068:"The Origins of Dancehall Reggae | Dancehall Reggae"
2553:"Drake's New Tracks 'One Dance' and 'Pop Style' Reviewed"
2469:"Dancehall music | Reggae, Jamaica, Culture | Britannica"
732:. The older toasters were overtaken by new stars such as
3735:
Out and Bad: London's LGBT Dancehall Scene (Full Length)
3202:""Beenie Man to perform as 'Ras Moses' at Rebel Salute""
2640:"Drake: 'Vybz Kartel Is One Of My Biggest Inspirations'"
2006:"Is Drake's Dancehall Obsession Homage Or Exploitation?"
925:
stars. A new set of producers also came to prominence:
788:
Yellowman backed by Sagittarius Band, Bersenbrueck 2007
3236:
Sound clash : Jamaican dancehall culture at large
2906:
Kingston's Dancehall: A Story of Space and Celebration
2144:
2142:
1409:
Kingston's Dancehall: A Story of Space and Celebration
1114:(2017) all heavily rely upon dancehall music. Several
772:
for inspiration. He utilized talking over or under a "
3528:"Beenie Man, Sizzla and Capleton renounce homophobia"
2714:"Choppa Rising: A History of Jamaican Trap Dancehall"
812:. Other female dancehall stars include artistes like
3867:
International Reggae and World Music Awards Magazine
4229:
4156:
4105:
4049:
3911:
3319:. Chicago: University of Chicago Press. p. 6.
2329:
Natal, B. (2009). Dub echoes. Soul Jazz Records, 1.
1394:One major theme behind dancehall is that of space.
145:
122:
96:
85:
44:
39:
3826:. Youtube, hosted by Connie Wang, April 6, 2019,
2463:
2461:
1391:"crew", and was equally important to both sexes.
953:'s position as Jamaica's leading rhythm section.
633:Themes of social injustice, repatriation and the
2404:"Last Night a DJ Saved My Life – Grove Atlantic"
2270:– via Routledge: Taylor and Francis Group.
1856:"The Music Diaries | The evolution of dancehall"
1764:"Miss Red: K.O. — 'enticing lightness of touch'"
997:, such as repeated choruses, melodic tunes, and
871:, Frankie Paul, Half Pint, Courtney Melody, and
2035:"Top5 Jamaica – Jamaican Sound System Websites"
2201:. New York: Schirmer Books. pp. 189–191.
3887:
2441:International Reggae & World Music Awards
2431:
2429:
2071:"Everything You Need to Know About Dancehall"
553:
8:
2821:: CS1 maint: multiple names: authors list (
1974:"The Folk Power of Jamaican Dancehall Signs"
1795:Ellis-Petersen, Hannah (September 5, 2016).
1679:
1352:It acts as a medium for economic advancement
205:and a focus on the track instrumentals (or "
3407:"Murder Inna Dancehall: Songs & Lyrics"
2953:Small Axe: A Caribbean Journal of Criticism
2740:"MoBay artistes are taking over – Producer"
2116:
2114:
2112:
2110:
2108:
2106:
1611:Jamaica, where this music is most present.
3894:
3880:
3872:
3300:: CS1 maint: location missing publisher (
3144:"Rastas blast Munga's 'Gangsta Ras' image"
2998:(Ottawa: University of Ottawa Press, 2010)
1461:", "Whine & Dip", "Tek Weh Yuhself", "
560:
546:
361:
350:
222:
36:
1664:. Some popular deejays, most prominently
1319:Learn how and when to remove this message
2742:. The Jamaica Star. September 11, 2018.
1920:
1918:
1916:
1914:
1912:
1910:
1908:
1762:Hunter-Tilney, Ludovic (July 13, 2018).
1567:setting, with Bruno Nettl describing in
1339:It involves the dynamic interweaving of
1155:have always been rival music artists in
1102:, whose commercially successful singles
2772:Manuel, Peter, Marshall, Wayne (2006).
1724:
1137:and linked him up with MixPak producer
380:
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1833:. Ottawa: University of Ottawa Press.
1807:from the original on December 28, 2016
4247:Caribbean music in the United Kingdom
3783:
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3779:
3777:
3757:
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3728:
3726:
3724:
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3567:from the original on January 22, 2021
3228:
3226:
3224:
3222:
2946:
2944:
2925:Durham: Duke UP, 2000. pp. 1 & 7.
2877:Mapping Black Performance Geographies
2767:
2765:
2763:
2761:
2148:Brewster, Bill, and Frank Broughton.
2000:
1998:
1361:It strives to make the unseen visible
692:Writer Brougtton and Brewster's book
7:
4148:Reggae bands from the Virgin Islands
3505:from the original on 10 October 2008
2996:DanceHall: From Slave Ship to Ghetto
2045:from the original on 25 January 2019
1968:
1966:
1831:DanceHall: From Slave Ship to Ghetto
1680:Women's message of power and control
1301:adding citations to reliable sources
1167:(KOTD) and more recent support from
724:Sound systems such as Killimanjaro,
2690:. The Gleaner. September 16, 2019.
2290:Harris, Michael Sean (2022-08-26).
1869:Stolzoff, Norman C. (8 July 2018).
1424:Dancehall-inspired dancing to music
816:and in the late 1990s to the 2000s
4113:Reggae Grammy winners 1985-present
2912:, Vol. 7, No. 1 2004: pp. 102 -118
2533:from the original on 16 April 2019
2414:from the original on 14 April 2019
2172:"The Essential Guide to Dancehall"
582:Dancehall is named after Jamaican
25:
2746:from the original on June 7, 2020
2720:from the original on June 7, 2020
2694:from the original on June 7, 2020
1776:from the original on July 1, 2019
1743:from the original on 18 June 2018
1430:Wake the Town and Tell the People
356:Nationalistic and patriotic songs
4345:
3097:"Dance craze causes bodily harm"
2938:Durham: Duke UP, 2000. pp. 14–15
2889:A Story of Space and Celebration
2492:Oumano, Elena (September 1993).
1707:
1695:
1277:
594:Early developments - Early 1970s
226:
3742:from the original on 2015-12-14
3600:from the original on 2021-01-22
3538:from the original on 2021-03-31
3476:from the original on 2012-02-17
3447:from the original on 2016-12-01
3435:Petridis, Alexis (2004-12-13).
3417:from the original on 2012-03-22
3388:from the original on 2011-06-06
3208:from the original on 2009-04-23
3049:from the original on 2009-06-08
3019:from the original on 2010-01-18
2804:from the original on 2020-10-26
2621:from the original on 2017-02-02
2592:from the original on 2017-01-18
2563:from the original on 2017-01-16
2504:from the original on 2020-10-08
2447:from the original on 2020-10-28
2385:from the original on 2019-02-21
2339:Henriques, Julian (July 2008).
2263:from the original on 2019-02-21
2016:from the original on 2017-01-13
1984:from the original on 2017-01-12
1952:from the original on 2017-01-18
1893:from the original on 6 May 2016
1548:According to Carolyn Cooper in
1288:needs additional citations for
852:becoming major DJs in Jamaica.
681:postcolonial Jamaican society.
89:Late 1970s Jamaica, especially
27:Genre of Jamaican popular music
3037:Schneider, Kate (2009-06-03).
2867:Vol. 1, No. 1, 2002: pp. 17–28
2716:. Afropunk. October 22, 2019.
1854:Roy Black (February 3, 2019).
1502:by "Gangsta Ras" artists like
1:
3681:Nyong'o, Tavia (2007-11-30).
3150:. 13 May 2007. Archived from
2677:, The Guardian, 27 March 2014
2176:daily.redbullmusicacademy.com
1535:, prominent dancehall artist
1240:drum machine, and the use of
768:, although many went back to
766:A Whole New Generation of DJs
695:Last Night a DJ Saved My Life
653:Origination from the DJ scene
3268:Nettl, Bruno (15 May 2015).
3103:. 2009-06-03. Archived from
3074:. 2009-08-17. Archived from
2646:. 2016-05-10. Archived from
2069:studios, shey (2021-09-02).
1858:. Jamaica: Jamaican Gleaner.
1569:The Study of Ethnomusicology
710:Gladys Knight & the Pips
399:Aruba and the Dutch Antilles
1358:The end justifies the means
32:Dance hall (disambiguation)
4411:
3272:(Third ed.). Urbana.
2668:The second coming of grime
2348:African and Black Diaspora
2234:African and Black Diaspora
1583:
967:
29:
4380:20th-century music genres
4340:
4143:Jamaican record producers
3699:10.1080/13528160701771303
2790:10.1017/S0261143006000997
2360:10.1080/17528630802224163
2315:Thompson, Krista (2015).
2246:10.1080/17528630802224163
1901:– via Google Books.
1236:electronic keyboard, the
1217:, and sometimes refer to
875:were popular in Jamaica.
514:St Vincent and Grenadines
203:Jamaican standard English
150:
127:
4237:List of reggae festivals
3802:10.1215/07990537-1334212
3233:Cooper, Carolyn (2004).
2965:10.1215/07990537-1334212
2844:: 160 – via JSTOR.
2494:"Daughters of the Dance"
2319:. Duke University Press.
1544:Guns and violent imagery
1079:Modern era: 2015—present
4292:Sound system (Jamaican)
3470:Partyxtraz.blogspot.com
1225:Musical characteristics
937:, Hugh "Redman" James,
665:Dizzy Dee & Slicker
616:People's National Party
181:is a genre of Jamaican
4385:Caribbean music genres
3855:Dancehall in Australia
3315:Rice, Timothy (1994).
2195:Potash, Chris (1997).
1533:It's All About Dancing
1425:
1418:
1405:
1133:took an interest into
1087:" (2016) and Drake's "
927:Philip "Fatis" Burrell
880:Land of Wood and Water
789:
666:
649:(electrical) rhythms.
4128:Reggae fusion artists
4009:Alternative reggaeton
3437:"Pride and prejudice"
2904:Sonjah Stanley-Niaah
1877:Duke University Press
1827:Niaah, Sonjah Stanley
1584:Further information:
1574:May It Fill Your Soul
1498:, or the sporting of
1423:
1413:
1400:
931:Dave "Rude Boy" Kelly
890:(Under Me) Sleng Teng
787:
664:
371:Jamaica, Land We Love
4133:Roots reggae artists
3738:, 14 December 2015,
3687:Performance Research
3563:. October 19, 2010.
2893:Sonjah Stanley Niaah
2152:. Grove Press, 2014.
1619:society with strong
1506:and Munga. The term
1396:Sonjah Stanley Niaah
1297:improve this article
1257:particular riddim, '
949:) rose to challenge
921:, who became famous
624:Jamaica Labour Party
4123:Reggae rock artists
3148:jamaicaobserver.com
1739:. 27 January 2016.
1246:Under Mi Sleng Teng
947:Steely & Clevie
524:Trinidad and Tobago
394:Antigua and Barbuda
4282:Dance Hall (venue)
3861:Dancehall Magazine
3830:2019-05-25 at the
2673:2019-04-25 at the
2644:Hype Life Magazine
2473:www.britannica.com
1714:Society portal
1702:Jamaica portal
1621:Rastafari movement
1426:
790:
667:
635:Rastafari movement
504:St Kitts and Nevis
454:Dominican Republic
4362:
4361:
4297:Sound system (DJ)
4106:People and groups
3982:Reggae en Español
3279:978-0-252-09733-1
2934:Norman Stolzoff,
2921:Norman Stolzoff,
2910:Space and Culture
2838:Cultural Critique
2408:Groveatlantic.com
2223:Henriques, Julian
2099:978-1-4039-6424-3
1829:(July 10, 2010).
1604:freedom of speech
1586:Stop Murder Music
1486:Cultural elements
1329:
1328:
1321:
1043:, Shalkal Carty,
958:Reggae en Español
917:, Beenie Man and
570:
569:
376:
375:
351:
214:Jamaican diaspora
176:
175:
45:Stylistic origins
16:(Redirected from
4402:
4390:Music of Jamaica
4355:
4350:
4349:
4348:
4307:Jamaican English
4252:Music of Jamaica
4118:Reggae musicians
3967:Nyabinghi rhythm
3915:
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3750:
3749:
3748:
3747:
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3719:
3718:
3678:
3667:
3666:
3664:
3663:
3654:. Archived from
3644:
3638:
3637:
3635:
3634:
3625:. Archived from
3615:
3609:
3608:
3606:
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3586:
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3574:
3572:
3553:
3547:
3546:
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3543:
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3515:
3514:
3512:
3510:
3499:villagevoice.com
3491:
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3453:
3452:
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3426:
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3403:
3397:
3396:
3394:
3393:
3382:Contactmusic.com
3374:
3368:
3367:
3365:
3364:
3355:. Archived from
3345:
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3112:
3101:Straitstimes.com
3093:
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1219:lottery scamming
1024:'s 2000 single "
979:, whose single "
951:Sly & Robbie
562:
555:
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529:Turks and Caicos
362:
248:Related articles
236:Music of Jamaica
230:
229:
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160:Oldschool jungle
97:Derivative forms
86:Cultural origins
37:
21:
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4312:Jamaican Patois
4242:Caribbean music
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4050:Characteristics
4045:
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3832:Wayback Machine
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3078:on July 8, 2017
3072:Dancehall.tours
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3013:Inthemix.com.au
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2039:Top5jamaica.com
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1580:Anti-gay lyrics
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1234:Casiotone MT-40
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1026:Girls Dem Sugar
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939:Donovan Germain
873:Barrington Levy
754:Charlie Chaplin
705:
674:Krista Thompson
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365:National anthem
227:
199:Jamaican Patois
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18:Dancehall music
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4353:Jamaica portal
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3849:External links
3847:
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3596:. 2010-10-19.
3578:
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3534:. 2007-06-14.
3516:
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3472:. 2007-10-02.
3457:
3427:
3411:Soulrebels.org
3398:
3384:. 2005-02-08.
3369:
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3154:on 13 May 2007
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2559:. 2016-04-05.
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2354:(2): 215–236.
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2240:(2): 215–236.
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1980:. 2017-01-10.
1978:The New Yorker
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1886:978-0822325147
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1411:, she writes:
1379:
1378:
1377:being normal).
1371:
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1345:Haile Selassie
1327:
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1080:
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968:Main article:
965:
962:
888:'s 1985 hit, "
742:Clint Eastwood
734:Captain Sinbad
704:
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612:Michael Manley
610:government of
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429:Cayman Islands
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381:Regional music
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242:General topics
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165:Tropical house
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4395:Reggae genres
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4062:Hammond organ
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3987:Reggae fusion
3985:
3983:
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3957:Gospel reggae
3955:
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3928:Dancehall pop
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3822:Refinery 29,
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3692:
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3684:
3677:
3675:
3673:
3669:
3658:on 2008-09-25
3657:
3653:
3652:Towleroad.com
3649:
3643:
3640:
3629:on 2013-04-29
3628:
3624:
3623:Jamaicans.com
3620:
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3611:
3599:
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3594:Urban Islandz
3591:
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3561:Urban Islandz
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3399:
3387:
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3379:
3373:
3370:
3359:on 2012-03-14
3358:
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3336:
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3328:
3326:0-226-71121-8
3322:
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3289:
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3246:1-4039-6425-4
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3207:
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3197:
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3153:
3149:
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3139:
3136:
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3127:
3121:
3118:
3107:on 2010-02-18
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2779:
2778:Popular Music
2775:
2768:
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2764:
2762:
2758:
2745:
2741:
2735:
2732:
2719:
2715:
2709:
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2693:
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2661:
2650:on 2017-03-26
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2615:Rolling Stone
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2527:Slacker Radio
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2296:Blog | Splice
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2208:9780028647289
2204:
2200:
2199:
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2167:
2165:
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2161:
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2126:0-87930-655-6
2123:
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2100:
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2087:
2076:
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2065:
2063:
2061:
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2044:
2040:
2036:
2030:
2027:
2015:
2011:
2007:
2001:
1999:
1995:
1983:
1979:
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1969:
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1963:
1951:
1947:
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1937:
1934:
1931:
1930:1-84353-329-4
1927:
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1911:
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1840:9780776607368
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1640:era, notably
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1612:
1608:
1605:
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1598:
1594:
1593:Scotland Yard
1587:
1579:
1577:
1575:
1570:
1564:
1562:
1561:Buju Banton's
1557:
1553:
1551:
1543:
1541:
1538:
1534:
1528:
1525:
1520:
1519:Bounty Killer
1516:
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1298:
1292:
1291:
1286:This section
1284:
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1054:
1050:
1046:
1042:
1038:
1034:
1033:Bounty Killer
1029:
1027:
1023:
1019:
1015:
1012:'s 2003 hit "
1011:
1007:
1002:
1000:
996:
991:
989:
987:
982:
978:
971:
970:Dancehall pop
963:
961:
959:
954:
952:
948:
944:
943:Bobby Digital
940:
936:
932:
928:
924:
920:
916:
912:
907:
904:
901:
897:
895:
891:
887:
883:
881:
876:
874:
870:
869:Admiral Tibet
866:
862:
858:
853:
851:
847:
843:
839:
835:
834:Bounty Killer
831:
827:
826:Macka Diamond
823:
819:
815:
811:
807:
803:
798:
796:
786:
782:
779:
775:
771:
767:
763:
759:
755:
751:
747:
743:
739:
735:
731:
727:
726:Black Scorpio
722:
718:
715:
711:
702:
700:
697:
696:
690:
686:
682:
679:
675:
671:
663:
659:
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643:
639:
636:
631:
629:
625:
621:
617:
613:
609:
605:
600:
593:
591:
589:
588:sound systems
585:
577:
572:
563:
558:
556:
551:
549:
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541:
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349:
348:
343:
340:
338:
337:Sound systems
335:
333:
330:
328:
325:
323:
320:
318:
315:
313:
310:
308:
307:Reggae fusion
305:
303:
300:
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288:
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280:
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196:
192:
188:
184:
183:popular music
180:
168:
166:
163:
161:
158:
156:
155:Reggae fusion
153:
152:
149:
146:Fusion genres
144:
138:
135:
133:
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129:
126:
121:
115:
112:
110:
107:
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101:
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70:
68:
65:
63:
60:
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50:
49:
47:
43:
38:
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19:
4097:Walking bass
4026:Samba reggae
4021:Roots reggae
3977:Ragga jungle
3922:
3860:
3838:
3818:
3793:
3789:
3766:
3744:, retrieved
3734:
3693:(3): 42–54.
3690:
3686:
3660:. Retrieved
3656:the original
3651:
3642:
3631:. Retrieved
3627:the original
3622:
3613:
3602:. Retrieved
3593:
3569:. Retrieved
3560:
3551:
3540:. Retrieved
3532:The Guardian
3531:
3507:. Retrieved
3498:
3489:
3478:. Retrieved
3469:
3460:
3449:. Retrieved
3441:The Guardian
3440:
3430:
3419:. Retrieved
3410:
3401:
3390:. Retrieved
3381:
3372:
3361:. Retrieved
3357:the original
3353:Freemuse.org
3352:
3343:
3316:
3310:
3269:
3263:
3235:
3210:. Retrieved
3196:
3187:
3177:
3168:
3156:. Retrieved
3152:the original
3147:
3138:
3129:
3120:
3109:. Retrieved
3105:the original
3100:
3091:
3080:. Retrieved
3076:the original
3071:
3062:
3051:. Retrieved
3042:
3032:
3021:. Retrieved
3012:
3003:
2995:
2990:
2981:
2956:
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2831:
2817:cite journal
2806:. Retrieved
2781:
2777:
2748:. Retrieved
2734:
2722:. Retrieved
2708:
2696:. Retrieved
2682:
2663:
2652:. Retrieved
2648:the original
2643:
2634:
2623:. Retrieved
2614:
2605:
2594:. Retrieved
2585:
2576:
2565:. Retrieved
2556:
2547:
2535:. Retrieved
2526:
2517:
2506:. Retrieved
2497:
2487:
2476:. Retrieved
2472:
2449:. Retrieved
2440:
2416:. Retrieved
2407:
2398:
2387:. Retrieved
2351:
2347:
2334:
2325:
2316:
2310:
2299:. Retrieved
2295:
2285:
2276:
2265:. Retrieved
2237:
2233:
2217:
2197:
2190:
2179:. Retrieved
2175:
2149:
2132:
2089:
2078:. Retrieved
2075:Shey Studios
2074:
2047:. Retrieved
2038:
2029:
2018:. Retrieved
2009:
1986:. Retrieved
1977:
1954:. Retrieved
1945:
1936:
1895:. Retrieved
1871:
1864:
1849:
1830:
1821:
1811:December 28,
1809:. Retrieved
1801:The Guardian
1800:
1790:
1778:. Retrieved
1767:
1757:
1745:. Retrieved
1736:
1727:
1683:
1674:Bobo Ashanti
1642:Garnett Silk
1630:
1626:
1617:
1613:
1609:
1601:
1589:
1573:
1568:
1565:
1558:
1554:
1549:
1547:
1532:
1529:
1515:Elephant Man
1512:
1507:
1489:
1471:Breakdancing
1451:
1442:
1436:
1434:
1429:
1427:
1414:
1408:
1406:
1401:
1393:
1389:
1383:
1380:
1374:
1334:
1330:
1315:
1306:
1295:Please help
1290:verification
1287:
1263:
1255:
1228:
1208:
1200:Stefflon Don
1193:
1173:
1147:
1128:
1097:
1082:
1041:Elephant Man
1030:
1003:
992:
985:
973:
955:
935:George Phang
919:Shabba Ranks
908:
898:
884:
877:
854:
810:Sister Nancy
799:
791:
765:
758:General Echo
723:
719:
706:
693:
691:
687:
683:
677:
672:
668:
656:
647:
644:
640:
632:
628:roots reggae
620:Edward Seaga
601:
597:
581:
317:Roots reggae
261:
211:
201:rather than
178:
177:
169:Tropical pop
4211:Philippines
4201:New Zealand
4138:Dub artists
3992:Reggae rock
3962:Lovers rock
3796:(2): 7–23.
3043:News.com.au
2959:(2): 7–23.
2523:"Mad Cobra"
1666:Buju Banton
1597:Buju Banton
1550:Sound Clash
1508:Gangsta Ras
1500:bling-bling
1492:Buju Banton
1309:August 2008
1238:Oberheim DX
1211:Montego Bay
1165:Vybz Kartel
1161:Vybz Kartel
1110:(2015) and
1108:Light It Up
1100:Major Lazer
1049:Vybz Kartel
894:Wayne Smith
846:Buju Banton
828:and more.
778:sound clash
750:Josey Wales
746:Lone Ranger
738:Ranking Joe
703:1980s–1990s
584:dance halls
499:Puerto Rico
297:Raggamuffin
282:Lovers rock
4369:Categories
4317:Studio One
4014:Moombahton
3997:Reggaestep
3945:Dub poetry
3746:2021-03-20
3662:2012-03-19
3633:2012-03-19
3604:2021-03-20
3542:2021-03-20
3480:2012-03-19
3451:2016-12-14
3443:. London.
3421:2012-03-19
3392:2012-03-19
3363:2012-03-19
3212:2020-11-12
3111:2010-01-07
3082:2010-01-07
3053:2010-01-07
3023:2010-01-07
2808:2020-12-04
2784:(3): 455.
2654:2017-03-27
2625:2017-03-26
2596:2017-01-12
2567:2017-01-12
2508:2020-08-29
2478:2023-12-09
2451:2020-10-27
2437:"Magazine"
2389:2020-08-29
2301:2023-12-09
2267:2019-09-17
2181:2023-12-09
2080:2023-12-09
2020:2017-01-12
2010:Genius.com
1988:2017-01-12
1956:2017-01-12
1720:References
1646:Tony Rebel
1537:Beenie Man
1524:capitalism
1481:Criticisms
1467:Dutty Wine
1215:trap music
1037:Beenie Man
1018:Beenie Man
903:Mutabaruka
886:King Jammy
830:Beenie Man
814:Diana King
795:Bob Marley
489:Montserrat
484:Martinique
464:Guadeloupe
439:Costa Rica
312:Rocksteady
292:Niyabinghi
272:Dub poetry
77:rocksteady
67:electronic
4375:Dancehall
4332:Blue Beat
4277:Suedehead
4262:Rastafari
4191:Australia
4174:Mauritius
4157:By region
4004:Reggaeton
3923:Dancehall
3810:144742875
3790:Small Axe
3715:193225758
3707:1352-8165
3571:March 20,
3296:cite book
3288:910556351
2973:144742875
2798:151501512
2586:Billboard
2500:: 83–87.
2368:1752-8631
1946:Billboard
1658:Anthony B
1475:Daggering
1455:Like Glue
1259:Real Rock
1139:Dre Skull
1129:In 2014,
1093:Controlla
1089:One Dance
1057:Mr. Vegas
1010:Sean Paul
995:pop music
986:Billboard
977:Sean Paul
911:Sean Paul
861:Cocoa Tea
850:Super Cat
838:Mad Cobra
762:Yellowman
608:socialist
479:Mauritius
262:Dancehall
189:than the
179:Dancehall
123:Subgenres
114:afroswing
104:Reggaeton
40:Dancehall
4287:Dubplate
4272:Skinhead
4267:Rude boy
4184:Zimbabwe
4087:Toasting
4067:One drop
4041:Two-tone
3828:Archived
3740:archived
3598:Archived
3565:Archived
3536:Archived
3503:Archived
3474:Archived
3445:Archived
3415:Archived
3386:Archived
3335:28799339
3255:52799208
3206:Archived
3182:101–117.
3047:Archived
3017:Archived
2802:Archived
2744:Archived
2718:Archived
2692:Archived
2671:Archived
2619:Archived
2590:Archived
2561:Archived
2537:19 March
2531:Archived
2502:Archived
2445:Archived
2418:19 March
2412:Archived
2380:Archived
2376:14966354
2258:Archived
2254:14966354
2225:(2008).
2049:19 March
2043:Archived
2014:Archived
1982:Archived
1950:Archived
1891:Archived
1805:Archived
1774:Archived
1741:Archived
1737:Spin.com
1689:See also
1670:Capleton
1637:Dirtsman
1633:Pan Head
1496:Capleton
1463:Whine Up
1176:Alkaline
1153:Alkaline
1143:Alkaline
1106:(2015),
1069:Lady Saw
1053:Konshens
1014:Baby Boy
981:Get Busy
915:Capleton
900:Dub poet
857:Pinchers
842:Ninjaman
806:Lady Saw
676:'s book
604:Kingston
519:Suriname
509:St Lucia
449:Dominica
409:Barbados
389:Anguilla
342:Toasting
332:Ska punk
327:Ska jazz
137:Trinibad
91:Kingston
62:toasting
4230:Related
4206:Pacific
4179:Nigeria
4077:Singjay
4036:Singjay
3771:99–121.
2750:June 7,
2724:June 7,
2698:June 7,
1780:July 1,
1654:Luciano
1650:Sanchez
1269:Culture
1252:Riddims
1242:riddims
1188:Aidonia
1180:Popcaan
1157:Jamaica
1149:Popcaan
1135:Popcaan
1120:R&B
1116:hip-hop
1104:Lean On
1091:" and "
1065:Ward 21
1045:Popcaan
1006:Beyonce
988:Hot 100
865:Sanchez
818:Ce'cile
730:deejays
573:History
459:Grenada
444:Curaçao
424:Bonaire
419:Bermuda
404:Bahamas
218:Western
207:riddims
4302:Riddim
4216:Poland
4164:Africa
4091:Deejay
4072:Reverb
4031:Seggae
3950:Psydub
3935:Dembow
3914:Genres
3904:Reggae
3808:
3713:
3705:
3509:8 July
3333:
3323:
3286:
3276:
3253:
3243:
3158:8 July
2971:
2796:
2374:
2366:
2252:
2205:
2124:
2097:
1928:
1897:8 July
1883:
1837:
1747:8 July
1662:Sizzla
1504:Mavado
1448:Dances
1112:Run Up
1061:Mavado
1020:&
1016:" and
1008:&
848:, and
808:, and
802:Lady G
774:riddim
714:boxing
494:Panama
469:Guyana
414:Belize
302:Reggae
277:Kumina
254:Genres
187:reggae
109:dembow
52:Reggae
4257:Mento
4196:Japan
4169:Kenya
4082:Skank
4057:Delay
3972:Ragga
3806:S2CID
3711:S2CID
2969:S2CID
2891:, by
2865:Ideaz
2794:S2CID
2383:(PDF)
2372:S2CID
2344:(PDF)
2317:Shine
2261:(PDF)
2250:S2CID
2230:(PDF)
1459:Bogle
1384:slack
1231:Casio
1204:J Hus
1191:me'.
1184:Spice
1169:Drake
1131:Drake
1124:Drake
1073:Spice
999:hooks
964:2000s
923:ragga
892:" by
822:Spice
770:U-Roy
678:Shine
618:) to
474:Haiti
287:Mento
195:ragga
191:roots
3703:ISSN
3573:2021
3511:2018
3331:OCLC
3321:ISBN
3302:link
3284:OCLC
3274:ISBN
3251:OCLC
3241:ISBN
3160:2018
2823:link
2752:2020
2726:2020
2700:2020
2539:2019
2498:Vibe
2420:2019
2364:ISSN
2203:ISBN
2122:ISBN
2095:ISBN
2051:2019
1926:ISBN
1899:2018
1881:ISBN
1835:ISBN
1813:2016
1782:2019
1749:2018
1668:and
1660:and
1635:and
1517:and
1494:and
1457:", "
1343:and
1202:and
1196:Chip
1151:and
1118:and
1085:Work
1071:and
760:and
578:Lead
434:Cuba
209:").
3940:Dub
3798:doi
3695:doi
2961:doi
2786:doi
2557:NME
2356:doi
2242:doi
1477:".
1435:In
1407:In
1375:not
1341:God
1299:by
1022:Mya
322:Ska
267:Dub
72:ska
57:dub
4371::
3804:.
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3792:.
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