Reggae
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{{Infobox Music genre <!-- See Wikipedia:WikiProject_Music_genres -->
|name = Reggae
|color = green
|bgcolor = white
|stylistic_origins = [[Rhythm and blues|R&B]], [[Jazz]], [[Blues]], [[Mento]], [[Calypso music|Calypso]], [[Ska]], [[Rocksteady]]
|cultural_origins = Late 1960s [[Jamaica]], especially [[Kingston, Jamaica|Kingston]]
|instruments = [[Bass guitar|Bass]] - [[Drums]] - [[Guitar]] - [[electronic organ|Organ]] - [[Brass instrument]] - [[Melodica]]
|popularity = Early 1970s onward, varied
|derivatives = [[Dancehall]] - [[Drum and bass]] - [[Trip hop]]
|subgenrelist = Reggae genres
|subgenres = [[Roots reggae]] - [[Dub music|Dub]] - [[Dub poetry]] - [[Toasting]] - [[Lovers rock]] - [[Dancehall]] - [[Ragga]]
|fusiongenres = [[Reggaeton]] - [[Seggae]] - [[2 Tone]]
|regional_scenes = [[African reggae|African]] - [[Reggae in Australia|Australia]] - [[Japanese reggae|Japan]] - [[Kanéka]] - [[New Zealand reggae|New Zealand]] - [[Nigerian reggae|Nigeria]] - [[Filipino Reggae|Philippines]]
|local_scenes =
|other_topics = [[Music of Jamaica]] - [[List of reggae musicians]]
}}
'''Reggae''' is a [[music genre]] first developed in [[Jamaica]] in the late 1960s.
While sometimes used in a broader sense to refer to most types of [[Music of Jamaica|Jamaican music]], the term ''reggae'' more properly denotes a particular music style that originated following on the development of [[ska]] and [[rocksteady]]. Reggae is based on a [[rhythm style]] characterized by regular chops on the [[off-beat (music)|off-beat]], known as the ''[[skank (guitar)|skank]]''. The [[tempo]] is generally slower than that found in ska. Reggae usually has [[accent (music)|accent]]s on the 3rd [[beat (music)|beat]] in each [[bar (music)|bar]], there being four beats in a bar; many people think it's accentuated on the 2nd and 4th, because of the rhythm guitar.
Reggae is often associated with the [[Rastafari movement]], an influence on many prominent reggae musicians from its inception. Reggae song lyrics deal with many subjects, including faith, love, sexuality, relationships, [[poverty]], injustice and other broad social issues.
==Etymology==
[[Image:Toots hibbert.JPG|thumb|231px|Toots Hibbert, lead singer of the Maytals.]]
The 1967 edition of the ''Dictionary of [[Jamaican English]]'' lists ''reggae'' as "a recently estab. sp. for ''rege''", as in ''rege-rege'', a word that can mean either "rags, ragged clothing" or "a quarrel, a row".<ref>1967 ''Dictionary of Jamaican English''</ref>
The word ''reggae'' as a musical term first appeared in print with the 1968 rocksteady hit "[[Do the Reggay]]" by [[Toots & the Maytals|The Maytals]], but it was already being used in Kingston, Jamaica as the name of a slower dance and style of rocksteady.<ref name=NiceupHistory/> As Reggae artist [[Derrick Morgan]] stated:
<blockquote>
''We didn't like the name rock steady, so I tried a different version of "Fat Man". It changed the beat again, it used the organ to creep. [[Bunny Lee]], the producer, liked that. He created the sound with the organ and the rhythm guitar. It sounded like ‘reggae, reggae' and that name just took off. Bunny Lee started using the world ''[sic]'' and soon all the musicians were saying ‘reggae, reggae, reggae.''<ref name=NiceupHistory/></blockquote>
Reggae historian [[Steve Barrow]] credits [[Clancy Eccles]] with altering the [[Jamaican patois]] word ''streggae'' ("loose woman") into ''reggae''.<ref name=NiceupHistory/> However, [[Toots Hibbert]] said:
<blockquote>
''There's a word we used to use in Jamaica called 'streggae'. If a girl is walking and the guys look at her and say 'Man, she's streggae' it means she don't dress well, she look raggedy. The girls would say that about the men too. This one morning me and my two friends were playing and I said, 'OK man, let's do the reggay.' It was just something that came out of my mouth. So we just start singing 'Do the reggay, do the reggay' and created a beat. People tell me later that we had given the sound it's ''[sic]'' name. Before that people had called it blue-beat and all kind of other things. Now it's in the Guinness World of Records.''<ref>[http://findarticles.com/p/articles/mi_qn4158/is_20040604/ai_n12789725 interview in ''The Independent'' Jun 4, 2004]; cf. many similar statements by Hibbert in recent years. In earlier interviews, Hibbert used to claim the derivation was from English 'regular', in reference to the beat.</ref></blockquote>
[[Bob Marley]] is said to have claimed that the word ''reggae'' came from a Spanish term for "the king's music".<ref>''Catch a Fire: The Life of Bob Marley'', Timothy White, p. 16</ref> The liner notes of ''To the King'', a compilation of Christian gospel reggae, suggest that the word ''reggae'' was derived from the [[Latin]] ''regis'' meaning "to the king."
==Precursors==
{{Jamaicanmusic}}
Although strongly influenced by both traditional [[Music of Africa|African]] and [[Caribbean music]], as well as by [[United States|American]] [[rhythm and blues]], reggae owes its direct origins to the progressive development of [[ska]] and [[rocksteady]] in 1960s Jamaica.
Ska music first arose in the studios of Jamaica over the years 1959 and 1961, itself a development of the earlier [[mento]] genre.<ref name=NiceupHistory>[http://niceup.com/history/ja_music_59-73.html History of Jamaican Music 1953–1973]</ref> Ska is characterized by a [[walking bass]] line, accentuated guitar or piano rhythms on the offbeat, and sometimes jazz-like horn riffs. Aside from its massive popularity amidst the Jamaican [[rude boy]] fashion, it had gained a large following among [[Mod (lifestyle)|mods]] in Britain by 1964. According to Barrow, rude boys began deliberately playing their ska records at half speed, preferring to dance slower as part of their tough image.<ref name=NiceupHistory/>
By the mid-1960s, many musicians had begun playing the tempo of ska slower, while emphasizing the walking bass and offbeats. The slower sound was named rocksteady, after a single by [[Alton Ellis]]. This phase of Jamaican music lasted only until 1968, when musicians began to slow the tempo of the music again, and added yet more effects. This led to the creation of reggae.
==Origins and development==
The shift from rocksteady to reggae was illustrated by the organ [[swung note|shuffle]] pioneered by Bunny Lee, and featured in the transitional singles "Say What You're Saying" (1967) by Clancy Eccles, and "People Funny Boy" (1968) by [[Lee "Scratch" Perry]].<ref>[http://blogs.citypages.com/pscholtes/2004/09/toots_and_the_maytals_never_gr.php "Toots and the Maytals:Never Grow Old", Peter S. Scholtes, ''[[City Pages]]'']</ref> [[The Pioneers (band)|The Pioneers]]' 1967 track "Long Shot Bus' Me Bet" has been identified as the earliest recorded example of the new rhythm sound that would soon become known as reggae.<ref>[http://www.upsetter.net/scratch/biography01.htm "Shocks Of Mighty: An Upsetting Biography"]</ref>
Early 1968 was when the first ''bona fide'' reggae records came into being: "Nanny Goat" by [[Larry Marshall]] and "No More Heartaches" by The Beltones. Music historian [[Piero Scaruffi]] credits American artist [[Johnny Nash]]'s 1968 hit "Hold Me Tight" with first putting reggae on the American listener charts.<ref>[http://www.scaruffi.com/history/reggae.html "A brief summary of Jamaican music"] - excerpted from ''A History of Popular Music'' by [[Piero Scaruffi]] (2002)</ref>
[[Image:Bob-Marley-in-Concert Zurich 05-30-80.jpg|thumb|231px|Bob Marley in 1980.]]
[[The Wailers (reggae)|The Wailers]], started by [[Bob Marley]], [[Peter Tosh]], and [[Bunny Wailer]] in 1963, are generally agreed to be the most easily recognised group worldwide that made the transition through all three stages — from ska hits like "[[Simmer Down]]", through slower rocksteady; and they are also among the significant pioneers who can be called the roots of reggae — along with [[Prince Buster]], [[Desmond Dekker]], [[Jackie Mittoo]] and several others. Some of the many notable Jamaican producers who were highly influential in the development of ska into rocksteady and reggae in the 1960s include [[Coxsone Dodd]], [[Lee "Scratch" Perry]], [[Leslie Kong]], [[Duke Reid]], [[Joe Gibbs (record producer)|Joe Gibbs]] and [[King Tubby]].
Among these early producers was [[Chris Blackwell]], who founded [[Island Records]] in Jamaica in 1959, then relocated to England in 1962, where he continued to promote Jamaican music. He formed a partnership with [[Trojan Records]], founded by Lee Gopthal in 1968, which lasted until 1972. Trojan continued to produce reggae artists in the UK until 1974, when it was bought by Saga.
===1970s and 1980s===
The 1972 film ''[[The Harder They Come]]'', starring [[Jimmy Cliff]], generated considerable interest and popularity for reggae music in the United States, and [[Eric Clapton]]'s 1974 cover of the Bob Marley song "[[I Shot the Sheriff]]" is thought to signify reggae's acceptance as a global phenomenon by the "white rock world".<ref name=NiceupHistory/> By the mid 1970s, reggae was getting radio play in the UK on [[John Peel]]'s radio show, and Peel continued to play much reggae during his career. What is called the first "Golden Age of Reggae" corresponds roughly to the heyday of [[#Roots_reggae|roots reggae]].
In the second half of the 1970s, the UK [[punk rock]] scene was starting to take off, and some punk DJs played reggae records during their DJ sets. Some punk bands, such as [[The Clash]], [[The Slits]], and [[The Ruts]], incorporated reggae influences into their music. At the same time, reggae began to enjoy a revival in the UK that continued into the 1980s, exemplified by groups like [[Steel Pulse]], [[Aswad (band)|Aswad]], [[UB40]], and [[Musical Youth]]. Other artists who enjoyed international appeal in the early 1980s include [[Third World (band)|Third World]], [[Black Uhuru]] and [[Sugar Minott]].
The [[Grammy Award]]s introduced the [[Grammy Award for Best Reggae Album|Best Reggae Album]] category in 1985, which was won that year by Black Uhuru's ''Anthem'' LP. Winners for subsequent years have included albums by [[Jimmy Cliff]], Steel Pulse, [[Peter Tosh]], [[Ziggy Marley]] (four times), [[Bunny Wailer]] (three times), [[Shabba Ranks]] (twice), [[Inner Circle]], [[Shaggy (artist)|Shaggy]], [[Sly and Robbie]], [[Beenie Man]], [[Damian Marley]] (twice), [[Lee "Scratch" Perry]], [[Sean Paul]], [[Stephen Marley]], and [[Toots and the Maytals]].
==Musical characteristics==
Reggae is always played in [[Time signature|4/4 time]] or [[Swung note|swing time]], because the symmetrical rhythm pattern does not lend itself to other time signatures such as 3/4 time. Harmonically, the music is often very simple, and sometimes a whole song will have no more than one or two [[Chord (music)|chords]]. The [[Bob Marley]] and the Wailers song "Exodus" is almost entirely comprised of A-minor chords. These simple repetitious chord structures add to reggae's sometimes hypnotic effect. However, Marley also wrote more complex chord structures, and bands such as [[Steel Pulse]] have often used very complex chord structures.
===Drums and other percussion===
A standard drum kit is generally used, but the [[snare drum]] is often tuned very high to give it a [[Timbales|timbale]]-type sound. Some reggae drummers use a separate additional timbale or high-tuned snare to get this sound. Rim shots on the snare are commonly used, and [[tom-tom drum]]s are often incorporated into the drumbeat itself. From the mid-80s onward, electronic instruments such as synthesizers and samplers have been used for the same purpose, especially by reggae artists who write in the ''Stepper'' and ''Dancehall'' styles.
Reggae drumbeats fall into three main categories: ''[[One drop rhythm|One drop]]'', ''Rockers'' and ''Steppers''. With the ''One drop'', the emphasis is entirely on the third beat of the bar (usually on the snare, or as a rim shot combined with bass drum). Beat one is completely empty, which is extremely unusual in popular music. There is some controversy about whether reggae should be counted so that this beat falls on the 3, or whether it should be counted half as fast so that it falls on the 2 and 4. This article follows the convention of placing the beat on the 3. Many credit [[Carlton Barrett]] of [[The Wailers (reggae)|The Wailers]] as the creator of this style, although it may actually have been invented by [[Winston Grennan]]. An example played by Barrett can be heard in the [[Bob Marley and the Wailers]] song "One Drop". Barrett often used an unusual [[Irrational rhythm|triplet]] [[Polyrhythm|cross-rhythm]] on the [[hi-hat]], which can be heard on many recordings by Bob Marley and the Wailers, such as "Running Away" on the ''[[Kaya (album)|Kaya]]'' album.
An emphasis on beat three is in all reggae drumbeats, but with the ''Rockers'' (pronounced like "raucous") beat, the emphasis is also on beat one (usually on bass drum). This beat was pioneered by the prolific innovative duo of [[Sly and Robbie]] — [[Sly Dunbar]] and [[Robbie Shakespeare]] — who later also helped create the "Rub-a-Dub" sound that greatly influenced Dancehall. An example of the ''Rockers'' beat is in "Night Nurse" by [[Gregory Isaacs]]. The ''Rockers'' beat is not always straightforward, and various [[syncopation]]s are often included. An example of this is the [[Black Uhuru]] song "Sponji Reggae."
In ''Steppers'', the bass drum plays four solid beats to the bar, giving the beat an insistent drive. An example is "Exodus" by Bob Marley and the Wailers. Another common name for the ''Steppers'' beat is the "four on the floor".
The ''Steppers'' beat was also adopted (at a much higher tempo) by some of the [[2 Tone]] ska revival bands of the late 1970s and early 1980s. Examples include "Stand Down Margaret" by [[The Beat (band)|The Beat]] and "Too Much Too Young" by [[The Specials]].
An unusual characteristic of reggae drumming is that the drum fills often do not end with a climactic cymbal. A wide range of other percussion instrumentation is used in reggae. [[Bongo drum|Bongos]] are often used to play free, improvised patterns, with heavy use of African-style [[cross-rhythm]]s. [[Cowbell]]s, [[claves]] and shakers tend to have more defined roles and a set pattern.
===Bass===
The [[bass guitar]] often plays a very dominant role in reggae, and the drum and bass is often called the ''[[riddim]]''. Several reggae singers have released different songs recorded over the same ''riddim''. The central role of the bass can particularly be heard in [[dub music]] — which gives an even bigger role to the drum and bass line, reducing the vocals and other instruments to peripheral roles. The bass sound in reggae is thick and heavy, and [[Equalization|equalized]] so the upper frequencies are removed and the lower frequencies emphasised. The bass line is often a simple two-bar [[riff]] that is centred around its thickest and heaviest note (which in musical terms is often the harmonic root note) - the other notes in the bassline often serve simply to lead you towards the bassist note.
An example of this can be heard on "[[Sun Is Shining]]" by Bob Marley and the Wailers.
===Guitars===
The [[rhythm guitar]] in reggae usually plays the chords on beats two and four, a musical figure known as [[skank (guitar)|skank]] or the 'bang'. It has a very dampened, short and scratchy chop sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following 8th beats on the up-stroke. An example is the intro to "[[Stir It Up]]" by The Wailers.
The [[lead guitar]] will often add a [[Rock music|rock]] or [[blues]]-style melodic solo to a song, but much of the time it plays the same part as the bass line an octave higher, with a very muted and picked sound. This adds definition to the bass line (which is usually devoid of upper frequencies), and emphasizes the bass melody. Sometimes the guitar will play a [[counter-melody]] to the bass line instead.
===Keyboards===
From the late 1960s through to the early 1980s, a piano was generally used in reggae to double the rhythm guitar's [[skank (guitar)|skank]], playing the [[Chord (music)|chords]] in a ''[[staccato]]'' style to add body, and playing occasional extra beats, runs and riffs. The piano part was widely taken over by [[synthesizer]]s during the 1980s, although synthesizers have been used in a peripheral role since the 1970s to play incidental melodies and countermelodies. Larger bands may include either an additional keyboardist, to cover or replace [[Brass instrument|horn]] and [[melody]] lines, or the main keyboardist filling these roles on two or more [[keyboard instrument|keyboards]]. The latter has become increasingly popular as keyboard technology improves.
The reggae-[[Organ (music)|organ]] shuffle is unique to reggae. Typically, a [[Hammond organ]]-style sound is used to play chords with a choppy feel. This is known as the ''bubble''. There are specific drawbar settings used on a Hammond console to get the correct sound. This may be the most difficult reggae keyboard rhythm. The 8th beats are played with a space-left-right-left-space-left-right-left pattern. The right-hand part coincides with the rhythm guitar and piano. It makes the music sound faster than it really is. The organ often also plays melodic runs and extra beats. The organ part is typically quite low in the mix, and is often more felt than heard. Examples include the songs "Natural Mystic", "[[Is This Love (Bob Marley song)|Is This Love]]" and "Midnight Ravers" by Bob Marley.
===Horns===
Horn sections are frequently used in reggae, often playing introductions and counter-melodies. Instruments included in a typical reggae horn section include [[saxophone]], [[trumpet]] and/or [[trombone]]. In more recent times, real horns are sometimes replaced in reggae by [[synthesizer]]s or recorded samples. The horn section is often arranged around the first horn, playing a simple melody or counter melody. The first horn is usually accompanied by the second horn playing the same melodic phrase in unision, one octave higher. The third horn usually plays the melody an octave and a fifth higher than the first horn. The horns are generally played fairly softly, usually resulting in a soothing sound. However, sometimes punchier, louder phrases are played for a more up-tempo and aggressive sound.
===Vocals===
The vocals in reggae are less of a defining characteristic of the genre than the instrumentation and rhythm. Almost any song can be performed in a reggae style. Vocal harmony parts are often used, either throughout the melody (as with bands such as the [[Mighty Diamonds]]), or as a counterpoint to the main vocal line (as with the backing group [[I-Threes]]). The [[United Kingdom|British]] reggae band [[Steel Pulse]] used particularly complex backing vocals. An unusual aspect of reggae singing is that many singers use ''[[tremolo]]'' (volume oscillation) rather than ''[[vibrato]]'' (pitch oscillation). Notable exponents of this technique include [[Dennis Brown]] and [[Horace Andy]]. The [[toasting]] vocal style is unique to reggae, originating when [[Disc jockey|DJs]] improvised along to dub tracks, and it is generally considered to be a precursor to [[hip hop music|rap]]. It differs from rap mainly in that it is generally melodic, while rap is generally more a spoken form without melodic content.
====Lyrical themes====
Reggae is noted for its tradition of social criticism, although many reggae songs discuss lighter, more personal subjects, such as love, sex and socializing. Many early reggae bands also covered [[Motown]] or [[Atlantic records|Atlantic]] soul and [[funk]] numbers. Some reggae lyrics attempt to raise the political consciousness of the audience, such as by criticizing [[materialism]], or by informing the listener about controversial subjects such as [[Apartheid]]. Many reggae songs promote the use of [[Cannabis (drug)|cannabis]] (also known as ''herb'' or ''ganja''), considered a sacrament in the [[Rastafari movement]]. There are many artists who utilize religious themes in their music — whether it be discussing a religious topic, or simply giving praise to the Rastafari God [[Jah]]. Other common socio-political topics in reggae songs include [[black nationalism]], [[anti-racism]], anti-[[colonialism]], [[anti-capitalism]], criticism of political systems and [[Rastafarian_vocabulary#Other_words|"Babylon"]], and promotion of caring for needs of the younger generation.
Some dancehall/ragga artists have been criticised for [[homophobia]]<ref>http://www.newnownext.com/2007/06/reggae_stars_si.html</ref><ref>http://www.towleroad.com/2007/06/reggae_stars_re.html</ref>, sometimes including threats of violence.<ref>{{cite news|title=The Most Homophobic Place on Earth?|url=http://www.time.com/time/world/article/0,8599,1182991,00.html|publisher=''[[Time (magazine)|Time]]''|date=[[2006-04-12]]|Retrieved [[June 18]] [[2008]]}}</ref> [[Buju Banton]]'s song "Boom Bye-Bye" states that gays "haffi dead" ("have to die"). Other dancehall artists who have been accused of homophobia include [[Elephant Man (musician)|Elephant Man]] ("When you hear a lesbian getting raped/ It's not our fault ... Two women in bed/ That's two Sodomites who should be dead."), [[Bounty Killer]] (who in a song urges listeners to burn "Mister Fagoty") and [[Beenie Man]].
The controversy surrounding anti-gay lyrics led to the cancellation of UK tours by Beenie Man and Sizzla. After lobbying from the Stop Murder Music coalition, the dancehall music industry agreed in 2005 to stop releasing songs that promote hatred and violence against gay people.<ref>Flick, Larry, [http://findarticles.com/p/articles/mi_m1589/is_2005_April_12/ai_n13606969 "Gay vs. reggae: the reggae music industry makes changes in response to gay activists' protesting violently homophobic lyrics. The artists have no comment", The Advocate, [[12 April]] [[2005]]]</ref><ref>[http://www.contactmusic.com/new/xmlfeed.nsf/mndwebpages/reggae%20industry%20to%20ban%20homophobia "SIZZLA - REGGAE INDUSTRY TO BAN HOMOPHOBIA"]</ref> In June 2007, Beenie Man, Sizzla and Capleton signed up to the Reggae Compassionate Act — in a deal brokered with top dancehall promoters and Stop Murder Music activists — renouncing homophobia, and agreeing to "not make statements or perform songs that incite hatred or violence against anyone from any community". Five artists who had been targeted by the anti-homophobia campaign did not sign up to the act, including Elephant Man, TOK, Bounty Killa, Vybz Kartel and Buju Banton.<ref>[http://www.jamaicans.com/news/announcements/Reggaestarsrenouncehomophobia062007.shtml "Reggae stars renounce homophobia - Beenie Man, Sizzla and Capleton sign deal"]</ref>
==Subgenres==
{{main|Reggae genres}}
Reggae includes several subgenres, such as [[roots reggae]], [[dub music|dub]], [[Lovers Rock|lovers rock]], and [[dancehall]].
[[Image:BushDoctor1978.jpg|thumb|220px|Peter Tosh performing with his band in 1978.]]
===Roots reggae===
{{main|Roots reggae}}
Roots reggae is the name given to a spiritual type of music whose lyrics are predominantly in praise of [[Jah]] (God). Recurrent lyrical themes include [[poverty]] and resistance to government oppression. Many of Bob Marley's and Peter Tosh's songs can be called roots reggae. The creative pinnacle of roots reggae was in the late 1970s, with singers such as [[Burning Spear]], [[Gregory Isaacs]], [[Freddie McGregor]], [[Johnny Clarke]], [[Horace Andy]], [[Ijahman Levi]], [[Barrington Levy]], [[Big Youth]], and [[Linval Thompson]], and bands like [[Culture (band)|Culture]], [[Israel Vibration]], [[the Meditations]], and [[Misty in Roots]], teaming up with various studio producers including [[Lee 'Scratch' Perry]] and [[Coxsone Dodd]].
===Dub===
{{main|Dub music}}
Dub is a genre of reggae that was pioneered in the early days by studio producers [[Lee "Scratch" Perry|Lee 'Scratch' Perry]] and [[King Tubby]]. It involves extensive remixing of recorded material, and particular emphasis is placed on the drum and bass line. The techniques used resulted in an even more visceral feel described by King Tubby as sounding "jus’ like a volcano in yuh head." [[Augustus Pablo]] and [[Mikey Dread]] were two of the early notable proponents of this music style, which continues today.
===Rockers===
The rockers style was created during the mid-1970s by [[Sly & Robbie]]. Rockers is described as a militant, mechanical, and aggressive style of playing reggae music.<ref>Dick Hebdige, [http://books.google.com/books?id=zqKqiSGzxQUC&pg=PA67&dq=%22rockers+music%22+reggae&sig=APNy8Y8jHM7A3oD19iS7KVY0-B0 ''Cut 'n' Mix: Culture, Identity and Caribbean Music'' p.67]</ref>
===Lovers rock===
{{main|Lovers rock}}
Lovers rock originated in South London in the mid-1970s, and is produced for a smoother, more commercial sound, with more apolitical lyrics.
===Newer styles and spin-offs===
====Hip hop and rap====
{{further|[[Toasting]], [[Hip hop music]] and [[Rapping]]}}
Toasting is a style of chanting or talking over the record that was first used by 1960s Jamaican [[deejay]]s such as [[U-Roy]] and [[Dennis Alcapone]]. This style greatly influenced Jamaican [[Disc Jockey|DJ]] [[Kool DJ Herc|Kool Herc]], who used the style in [[New York City]] in the late 1970s to pioneer a new genre that became known as [[Hip hop music|hip hop]] or [[Rapping|rap]]. Mixing techniques employed in [[dub music]] have also influenced hip hop.
====Dancehall====
{{main|Dancehall}}
The dancehall genre was developed around 1980, with exponents such as [[Yellowman]], [[Super Cat]] and [[Shabba Ranks]]. The style is characterized by a ''deejay'' singing and rapping or toasting over raw and fast rhythms. ''[[Ragga]]'' (also known as ''raggamuffin''), is a ''subgenre'' of dancehall where the instrumentation primarily consists of [[electronic music]] and [[Sampling (music)|sampling]]. Notable ''ragga'' artists include [[Shinehead]] and [[Buju Banton]].
====Reggaeton====
{{main|Reggaeton}}
Reggaeton is a form of [[dance music]] that first became popular with [[Latino]] youths in the early 1990s. It blends reggae and dancehall with [[Latin America]]n genres such as [[bomba]] and [[plena]], as well as hip hop.
==Footnotes==
{{reflist}}
==Bibliography==
* {{cite book|author=Manuel, Peter, with Kenneth Bilby and Michael Largey|title=Caribbean Currents: Caribbean Music from Rumba to Reggae (2nd edition). Temple University Press, 2006|id=ISBN 1-59213-463-7 }}
*{{cite book | author=O'Brien, Kevin & Chen, Wayne | title=Reggae Routes: The Story of Jamaican Music | publisher=Ian Randle Publishers | year=1998 | id=ISBN 976-8100-67-2}}
*{{cite book | author=Larkin, Colin (ed.) | title=The Virgin Encyclopedia of Reggae | publisher=Virgin | year= 1998| id=ISBN 0-7535-0242-9}}
*{{cite book | author=[[Steve Barrow|Barrow, Steve]] & Dalton, Peter | title=The Rough Guide to R.62036 publisher=Rough Guides | year=2004 for the 3rd edition | id=ISBN 1-84353-329-4 }}
*{{cite book | author=Morrow, Chris | title=Stir It Up: Reggae Cover Art | publisher=Thames & Hudson | year= 1999| id=ISBN 0-500-28154-8}}
*{{cite book | author=Jahn, Brian & Weber, Tom | title=Reggae Island: Jamaican Music in the Digital Age | publisher=Da Capo Press | year= 1998| id=ISBN 0-306-80853-6}}
*{{cite book | author=Hurford, Ray (ed.) | title=More Axe | publisher=Erikoispaino Oy | year= 1987| id=ISBN 951-99841-4-3}}
*{{cite book | author=Potash, Chris (ed.) | title=Reggae, Rasta, Revolution: Jamaican Music from Ska to Dub | publisher=Schirmer Books | year= 1997| id=ISBN 0-8256-7212-0}}
*{{cite book | author=Baek, Henrik & Hedegard, Hans | title=Dancehall Explosion, Reggae Music Into the Next Millennium | publisher=Samler Borsen Publishing, Denmark | year=1999 | id=ISBN 87-981684-3-6}}
*{{cite book | author=[[David Katz|Katz, David]] | title=People Funny Boy: The Genius of Lee Scratch Perry | publisher=Payback Press, UK | year=2000 | id=ISBN 0-86241-854-2}}
*{{cite book | author=Lesser, Beth | title=King Jammy's | publisher=ECW Press | year=2002 | id=ISBN 1-55022-525-1}}
*{{cite book | author=Stolzoff, Norman C. | title=Wake The Town And Tell The People | publisher=Duke University Press, USA | year=2000 | id=ISBN 0-8223-2514-4}}
*{{cite book | author=Davis, Stephen & Simon, Peter | title=Reggae Bloodlines: In Search of the Music and Culture of Jamaica | publisher=Da Capo Press | year=1979 | id=ISBN 0-306-80496-4}}
*{{cite book | author=Katz, David | title=Solid Foundation - An Oral history of Reggae | publisher=Bloomsburry, UK | year=2003 | id=ISBN 1-58234-143-5}}
*{{cite book | author=[[Michael de Koningh|de Koningh, Michael]] & [[Laurence Cane-Honeysett|Cane-Honeysett, Laurence]] | title=Young Gifted and Black - The Story of Trojan Records | publisher=Sanctuary Publishing, UK | year=2003 | id=ISBN 1-86074-464-8}}
*{{cite book | author=de Koningh, Michael & Griffiths, Marc | title=Tighten Up - The History of Reggae in the UK | publisher=Sanctuary Publishing, UK | year=2003 | id=ISBN 1-86074-559-8}}
*{{cite book | author=[[Lloyd Bradley|Bradley, Lloyd]] | title=Bass Culture. When Reggae Was King | publisher=Penguin Books Ltd, UK | year=2001 | id=ISBN 0-14-023763-1}}
*{{cite book | author=[[Lloyd Bradley|Bradley, Lloyd]] | title=This Is Reggae Music. The Story of Jamica's Music | publisher= Penguin Books Ltd, UK | year=2000 | id=ISBN 0-802-3828-4}}
* {{cite book | author= [[Jeff Chang (journalist)|Chang, Jeff]] | title=Can't Stop Won't Stop. | publisher= St. Martin's Press, 2005 |id=ISBN 0-312-30143-X }}
==See also==
{{wikiquote}}
{{commons|Category:Reggae|Reggae}}
* [[List of reggae festivals]]
* [[List of reggae musicians]]
* [[Grammy Award for Best Reggae Album]]
==External links==
*[http://www.dmoz.org/Arts/Music/Styles/R/Regional_and_Ethnic/Reggae/ Reggae Music] at the Open Directory Project
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