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Journey

08 · STREET DANCES & NIGHT ECONOMY

A weekly dance can move a global culture.

2000s

Street dances, dancers, crews, fashion, videographers, selectors and vendors turn nightlife into a worldwide movement laboratory.

Inside this era

Calendar

A dance for every night

Passa Passa on Spanish Town Road on a Wednesday, Weddy Weddy in Stone Love's yard, Uptown Mondays at Savannah Plaza, Boasy Tuesdays, Dutty Fridays, Early Mondays in Rae Town. Free at the gate, held in the road itself, and running until the sun came up — a weekly circuit that made the street the main venue of Jamaican music in the 2000s.

Passa PassaWeddy WeddyRae Town

Movement

Dancers name the moves

Gerald "Bogle" Levy and the Black Roses Crew invented steps — Bogle, Willie Bounce, Log On, Row Di Boat — that artists then wrote songs about, so a dance created a record rather than the other way round. Ravers Clavers, Overload Skankaz and later crews kept the loop running, and the steps were being taught in Tokyo and Berlin within months.

BogleBlack Roses CrewLog On

$ Economy

The people around the dance

Food and drink vendors, sound crew, selectors, promoters, hairdressers and dressmakers, taxi and bus operators, and the videographer whose handheld light picks a dancer out of the dark. The video light decided who was seen, and being seen was the point — footage from a Kingston street corner sold clothes, filled parties and made careers.

Video lightVendorsPromoters

Close up

Street dance

Passa Passa

Started in 2003 on Spanish Town Road in Tivoli Gardens and quickly drew uptown and downtown, tourists and touring artists to the same stretch of asphalt on a Wednesday night. For a few years it was the most-filmed dancefloor in the Caribbean.

Law

The Noise Abatement Act

The 1997 Act, and the police power to shut a dance down at 2am, sits underneath the whole decade. Every promoter, every sound and every street dance in this era operates in negotiation with it.

FROM THE ARCHIVE

Published records from this era

Follow any record into its connections, evidence and interviews.

concept · Probable'Middle School' dancehall style

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.

recording · Well supported"Baby Boy" — Beyoncé featuring Sean Paul

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.

recording · Probable"Bakardi Slang" — Kardinal Offishall

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.

recording · Well supported"Come Around" — Collie Buddz

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.

recording · Probable"Dem a Pree" — Mavado

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.

recording · Probable"Egyptian Dance" — Elephant Man

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.

recording · Well supported"Ghetto Story Chapter 2" — Baby Cham featuring Alicia Keys

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.

recording · Well supported"Give It Up To Me" — Sean Paul featuring Keyshia Cole

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.

recording · Probable"Gully Side" — Mavado

Mavado's declaration of the Gully as a place and a position. The record is where the corner name becomes an identity that listeners could take on as their own — the mechanism that let the rivalry spread beyond the two artists.

recording · Well supported"Hey Baby" — No Doubt featuring Bounty Killer

Written by Gwen Stefani, Tony Kanal, Tom Dumont and Bounty Killer for No Doubt's Rock Steady (2001), reaching number five on the Billboard Hot 100 and winning the Grammy for Best Pop Performance by a Duo or Group at the 45th awards in 2003. Bounty Killer has said publicly that he had to take the band to court to be paid his royalties, which is why this record belongs in a collection about crossover rather than only in one about hits: the traffic was not always a fair exchange.

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