1980sThe 1980s signaled the birth of an additional musical era, and the slow demise of another. With the help of producer King Jammy and musicians Steely and Clevy, Dub made way for a faster, more ...

Add Yahoo as a preferred source to see more of our stories on Google. That same self-determination, that instinct toward rebelling against the establishment, and of course, that inextricable tie to ...

Who belongs on reggae and dancehall's metaphorical mountaintop? Narrowing the genres' influence to just a handful of names feels nearly impossible, but these artists helped shape the sound, culture ...

Your institution does not have access to this book on JSTOR. Try searching on JSTOR for other items related to this book. Introduction to Cultural Appropriation in Reggae and Dancehall Performances ...

Ewart "U-Roy" Beckford, who transformed the Jamaican art of toasting, or deejaying, from a sound system phenomenon into a hit-making art form that deeply influenced generations of dancehall artists as ...

In the cultural spaces from which dancehall music gets its name, women are usually the center of attention. The Jamaican genre’s digital rhythms are calibrated to inspire female bodies to wine, as the ...

I think one of the greatest choruses in dancehall overall—it stands out because it kind of suggests a story that might be going on—is “Nobody move, nobody get hurt.” Every time I write a song, I ...

In this essay, writer AJ Morris explores the cultural history of Jamaican music, from reggae to dancehall, and examines how the medium works in tandem with Jamaican film as acts of protest and ...