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Dance-community term for the street-dance style that followed the 1990s 'old school' Bogle era, credited in scene oral history to dancer John Hype as part of the video-light generation's transition into 2000s Kingston street-dance culture.

A documented international public debate over homophobic content in some reggae and dancehall lyrics, focused on tracks such as Buju Banton's 1988 'Boom Bye Bye' and artists including Bounty Killer, Sizzla and Capleton; the 'Stop Murder Music' campaign (from 2004) led to widespread concert and sponsorship cancellations, and the 2007 Reggae Compassionate Act saw several artists pledge against inciting violence, though observers noted uneven compliance. Framed here neutrally as a documented debate over lyrics, free expression and human rights.

Editorial hold category for active or recently unresolved appeals involving entertainers; such matters should not be summarized as final history until current court status is verified.

Programming model foregrounding reggae across the day rather than confining Jamaican music to specialist slots.

The tuning practice of grouping bass bins so their outputs couple: builders recommend three or more scoops together because a single bin dips, while an array fills the dip and "produces a note" that is heavier and more musical.

Jamaican music communities mark deceased entertainers through tribute dances, radio memorial specials, murals and annual anniversary events - a consistent, decades-long practice of public mourning and remembrance that this atlas records as part of the culture's history.

Editorial concept for post-incarceration return, rehabilitation narratives, fan reception and industry reintegration when backed by public sources.

The recurring 'keep it real' argument in dancehall over whether the 'badman', gun and street personas express lived authenticity or are performance and marketing, a core thread in reception of clash culture and hard lyrics.

Editorial concept treating awards as reception/industry evidence, not automatic proof of musical influence or community importance.

In Rastafari discourse 'Babylon' names the systems, governments, police and institutions seen as being in rebellion against the will of Jah and as inheritors of colonial and slave-era oppression; the notion of 'chanting down Babylon' through word, sound and Nyabinghi drumming is a core theme carried into reggae and dancehall lyrics.

Bam Bam is not a riddim, though it is routinely listed as one. It is a title and hook that has travelled across several different rhythms since Toots and the Maytals took the 1966 Festival Song Competition with the original. The best-known cut, Sister Nancy's 1982 "Bam Bam", is voiced over the Stalag riddim (Ansell Collins, Techniques, 1973) — not over any rhythm called Bam Bam; Nancy has said she reached for the phrase after hearing Yellowman and Fathead cut their own version, which was on the Taxi rhythm, in a nearby studio. Chaka Demus and Pliers returned to the Maytals' words for their 1992 hit. Sister Nancy's record has since been sampled more than a hundred times, making it the most sampled Jamaican record ever cut. This entry exists to keep the distinction straight: follow each cut to the rhythm it actually sits on.

Jamaican word for a big, high-energy dance or party that also came to name the up-tempo dancehall it soundtracks; a term threaded through session names, riddims and record titles.

The engineering pursuit of deep, physical low-end and even full-range reproduction, chased through transformer design, amplifier headroom and speaker tuning, and captured in King Tubby's wish for bass 'jus' like a volcano in yuh head'.

Jamaican dancehall expression of respect and acknowledgement, made from 'big yuself up', that spread through UK and US usage to become one of the most widely exported Caribbean contributions to English.

Editorial boundary for using institutional biographies such as NLJ's Bob Marley page for basic life facts while leaving interpretive claims to separately sourced music histories.