Editing Reggae (section)

===International popularity===
[[File:PeterToshWithRobbieShakespeare1978.jpg|thumb|left|upright=0.75|Peter Tosh with Robbie Shakespeare, 1978]]
Reggae's influence bubbled to the top of the U.S. [[Billboard Hot 100|''Billboard'' Hot 100]] charts in late 1972. First [[Three Dog Night]] hit No. 1 in September with a cover of [[the Maytones]]' version of "[[Black and White (Three Dog Night song)|Black and White]]". Then [[Johnny Nash]] was at No. 1 for four weeks in November with "[[I Can See Clearly Now]]". [[Paul Simon]]'s single "[[Mother And Child Reunion]]" – a track which he recorded in Kingston, Jamaica with [[Jimmy Cliff]]'s backing group – was ranked by Billboard as the No. 57 song of 1972.

In 1973, the film ''[[The Harder They Come]]'' starring [[Jimmy Cliff]] was released and introduced Jamaican music to cinema audiences outside Jamaica.<ref>Steffens, Roger. ‘The Harder They Come: 30 Years After.” The Beat 22.1 (2003): p. 36</ref> Though the film achieved cult status, its limited appeal meant that it had a smaller impact than [[Eric Clapton]]'s 1974 cover of Bob Marley's "[[I Shot the Sheriff]]" which made it onto the playlists of mainstream rock and pop radio stations worldwide. Clapton's "I Shot the Sheriff" used modern rock production and recording techniques and faithfully retained most of the original reggae elements; it was a breakthrough pastiche devoid of any parody and played an important part in bringing the music of Bob Marley to a wider rock audience.<ref name=NiceupHistory/> By the mid-1970s, authentic reggae dub plates and specials were getting some exposure in the UK on [[John Peel]]'s radio show, who promoted the genre for the rest of his career.<ref>Gaar, Gillian G. "The Beat goes on." Goldmine 38.14 (Dec 2012): p. 26-29</ref> Around the same time, British filmmaker [[Jeremy Marre]] documented the Jamaican music scene in ''Roots Rock Reggae'', capturing the heyday of [[Roots reggae]].<ref>RHYTHM OF RESISTANCE ROOTS, ROCK, REGGAE SALSA KONKOMBE
The Beat8.3 (1989): 59–62.</ref>

While the quality of Reggae records produced in Jamaica took a turn for the worse following the oil crisis of the 1970s, reggae produced elsewhere began to flourish.<ref>{{Cite web|url=http://jamaica-gleaner.com/gleaner/20120219/cleisure/cleisure4.html|title=Oil prices under threat|website=Jamaica-gleaner.com|language=en|access-date=17 March 2017|date=19 February 2012|archive-url=https://web.archive.org/web/20170318002454/http://jamaica-gleaner.com/gleaner/20120219/cleisure/cleisure4.html|archive-date=18 March 2017|url-status=live}}</ref><ref name="thevinylfactory.com"/> In the late 1970s and early 1980s, the UK [[punk rock]] scene flourished, and reggae was a notable influence. The DJ [[Don Letts]] would play reggae and punk tracks at clubs such as [[The Roxy (London)|The Roxy]]. Punk bands such as [[the Clash]], [[the Ruts]], [[the Members]] and [[the Slits]] played many reggae-influenced songs. Around the same time, reggae music took a new path in the UK; one that was created by the multiracial makeup of England's inner cities and exemplified by groups like [[Steel Pulse]], [[Aswad (band)|Aswad]] and [[UB40]], as well as artists such as [[Smiley Culture]] and [[Carroll Thompson]]. The Jamaican ghetto themes in the lyrics were replaced with UK [[inner city]] themes, and Jamaican [[patois]] became intermingled with [[Cockney]] slang. In South London around this time, a new subgenre of [[lovers rock]], was being created. Unlike the Jamaican music of the same name which was mainly dominated by male artists such as [[Gregory Isaacs]], the South London genre was led by female singers like Thompson and [[Janet Kay]]. The UK Lovers Rock had a softer and more commercial sound.Other reggae artists who enjoyed international appeal in the early 1980s include [[Third World (band)|Third World]], [[Black Uhuru]] and [[Sugar Minott]]. The Grammy Awards introduced the [[Grammy Award for Best Reggae Album]] category in 1985.

[[File:Ruhr Reggae Summer Mülheim 2014 Tanya Stephens 04.jpg|thumb|right|upright=0.7|[[Tanya Stephens]] in 2014 at a German Reggae festival]]
Women also play a role in the reggae music industry personnel such as Olivia Grange, president of Specs-Shang Musik; Trish Farrell, president of Island/Jamaica; Lisa Cortes, president of Loose Cannon; Jamaican-American Sharon Gordon, who has worked in the independent reggae music industry.<ref>Oumano, E. (27 January 1996). Women increase number, scope of roles in reggae.''Billboard – the International Newsweekly of Music, Video and Home Entertainment, 108'', 1–1, 37.</ref>