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Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s.〔(Wake the town & tell the people: dancehall culture in Jamaica By Norman C. Stolzoff )〕〔Barrow, Steve & Dalton, Peter (2004) "The Rough Guide to Reggae, 3rd edn.", Rough Guides, ISBN 1-84353-329-4〕 Two of the biggest stars of the early dancehall era were Yellowman and Eek-a-Mouse. Dancehall brought a new generation of producers, including Linval Thompson, Gussie Clarke and Jah Thomas.〔 In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms. (The word "bashment", a term originating in the 1990s, was used to describe a particularly good dance; for example "to go to a bashment dance". In the Dancehall vernacular, "bashment" is therefore an adjective instead of a noun.) In the early 1990s songs by Dawn Penn, Shabba Ranks, Patra and Chaka Demus and Pliers were the first dancehall megahits in the US and abroad. Other varieties of dancehall achieved crossover success outside of Jamaica during the mid-to-late 1990s. After the popularizing of Buju Banton's dancehall song "Boom Bye Bye" in the early 1990s, dancehall music came under criticism over anti-gay lyrics in a few songs. The early 2000s saw the success of newer charting acts such as Rihanna, Elephant Man and Sean Paul. Dancehall made a resurgence within the pop market in the late 2000s, with songs by Konshens, Mr. Vegas, Popcaan, Mavado, Vybz Kartel, Beenie Man among others. ==History== Dancehall is named after Jamaican dance halls in which popular Jamaican recordings were played by local sound systems. These began in the late 1940s among people from the inner city of Kingston such as Trench Town, Rose Town and Denham Town—Jamaicans who were not able to participate in dances uptown.〔Sound clash: Jamaican dancehall culture at large By Carolyn Cooper, ISBN 978-1-4039-6424-3〕 Social and political changes in late-1970s Jamaica, including the change from the socialist government of Michael Manley (People's National Party) to Edward Seaga (Jamaica Labour Party),〔 were reflected in the shift away from the more internationally oriented roots reggae towards a style geared more towards local consumption, and in tune with the music that Jamaicans had experienced when sound systems performed live.〔Thompson, Dave (2002) "Reggae & Caribbean Music", Backbeat Books, ISBN 0-87930-655-6〕 Themes of social injustice, repatriation and the Rastafari movement were overtaken by lyrics about dancing, violence and sexuality.〔〔〔Donna P. Hope. Inna di Dancehall: Popular Culture and the Politics of Identity in Jamaica. UWI Press, 2006.〕 Musically, older rhythms from the late 1960s were recycled, with Sugar Minott credited as the originator of this trend when he voiced new lyrics over old Studio One rhythms between sessions at the studio, where he was working as a session musician.〔 Around the same time, producer Don Mais was reworking old rhythms at Channel One Studios, using the Roots Radics band.〔 The Roots Radics would go on to work with Henry "Junjo" Lawes on some of the key early dancehall recordings, including those that established Barrington Levy, Frankie Paul, and Junior Reid as major reggae stars.〔 Other singers to emerge in the early dancehall era as major stars included Don Carlos, Al Campbell, and Triston Palma, while more established names such as Gregory Isaacs and Bunny Wailer successfully adapted.〔 Sound systems such as Killimanjaro, Black Scorpio, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power and Aces International soon capitalized on the new sound and introduced a new wave of deejays.〔 The older toasters were overtaken by new stars such as Captain Sinbad, Ranking Joe, Clint Eastwood, Lone Ranger, Josey Wales, Charlie Chaplin, General Echo and Yellowman — a change reflected by the 1981 Junjo Lawes-produced album ''A Whole New Generation of DJs'', although many went back to U-Roy for inspiration.〔〔 Deejay records became, for the first time, more important than records featuring singers.〔 Another trend was ''sound clash'' 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.〔 Two of the biggest deejay stars of the early dancehall era, Yellowman and Eek-a-Mouse, chose humour rather than violence. Yellowman 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 Bob Marley's peak.〔〔 The early 1980s also saw the emergence of female deejays in dancehall music, including: Sister Charmaine, Lady G, Lady Junie, Junie Ranks, Lady Saw, Sister Nancy and Shelly Thunder.〔 Dancehall brought a new generation of producers; Junjo Lawes, Linval Thompson, Gussie Clarke and Jah Thomas took over from the producers who had dominated in the 1970s.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dancehall」の詳細全文を読む スポンサード リンク
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