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.

From Beyoncé's debut solo album Dangerously in Love (2003), on Columbia, directed by Jake Nava. It reached number one on the Billboard Hot 100 and stayed there nine weeks, making Sean Paul's voice, on a riddim-inflected hook, part of the biggest pop record of its year.

Lead single from Kardinal Offishall’s major-label debut, articulating Toronto’s West Indian presence in patois-inflected verse and becoming his first Top 20 Canadian solo hit; a remix paired him with Jamaican deejay Bounty Killer.

Lead single from Collie Buddz’s 2007 self-titled Columbia Records debut, a reggae radio hit that topped charts in Jamaica, the UK and continental Europe and drew a Busta Rhymes remix.

One of Kartel's answer records in the documented Gully–Gaza exchange — the deejay tradition of the recorded reply, where a rival's last release sets the brief for your next one, conducted on rhythm and judged by the dance.

Elephant Man's early-2000s cuts "Egyptian Dance" and "Egyptian (Version)" rode producer Don Corleon's Egyptian riddim, part of a run of uptempo, horn-sampling rhythms that made Corleon one of dancehall's most in-demand producers of the 2000s.

Aisha Davis's collaboration with Double X (Flexx of TOK). Release date and label still to be confirmed from a catalogue source.

The pop-crossover remix of Baby Cham's own "Ghetto Story", built over Dave Kelly's Madhouse production and released in 2006 on Madhouse/Atlantic/Asylum. Alicia Keys was recorded onto the track on 6 June 2006 at Boxx Studios in Kingston, and the accompanying video was shot in Jamaica by director Sanaa Hamri. It carried the dancehall record onto US pop and R&B radio the way Sean Paul's guest verses had a few years earlier — a Jamaican artist's own single, not a Jamaican feature inside someone else's. A separate remix featuring Akon also circulated the same year.

From the Step Up soundtrack (2006), on Atlantic. One of the clearer cases of dancehall placed directly inside a mainstream American teen-film franchise rather than reaching that audience by chart osmosis.

Beenie Man's "Gotta Be Mine" voiced producer Tony Kelly's 2001 Buy Out riddim, one of the era's most-versioned dancehall rhythms, also carrying cuts from Sean Paul and T.O.K.