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===2000s=== {{Main|Dancehall pop}} By the early 2000s, Dancehall had gained mainstream popularity in Jamaica, as well as in the United States, Canada, Australasia and Western parts of Europe. There was also a big evolution in sound allowing artists to refine and broaden the genre. This was first seen with artists such as [[Sean Paul]] with his album "[[Dutty Rock]]",<ref>{{cite magazine |first=Rashaun |last=Hall|title='Light' and Hip-Hop Cameos Propel Sean Paul's VP/Atlantic Debut |magazine=[[Billboard (magazine)|Billboard]] |date=Nov 23, 2002 |page=16 |url=https://books.google.com/books?id=SA0EAAAAMBAJ&dq=dancehall+sean+paul+billboard&pg=PA16}}</ref> whose album single "[[Get Busy]]" (2003) became the first dancehall single to reach number one on the US [[Billboard Hot 100|''Billboard'' Hot 100]]. Unlike earlier Dancehall, this new evolution was characterized by structures of music commonly heard in mainstream [[pop music]], such as repeated choruses, melodic tunes, and [[Hook (music)|hooks]]. Some lyrics were cleaner and featured less sexual content and profanity. At this point it was a part of the public consciousness. Cross-genre collaborations soon became normalized, with songs such as [[Beyoncé|Beyonce]] and [[Sean Paul]]'s 2003 hit "[[Baby Boy (Beyoncé song)|Baby Boy]]" and [[Beenie Man]] and [[Mya (singer)|Mya]]'s 2000 single "[[Girls Dem Sugar]]." Alongside this growth many crews were formed by men, women or a mixture of both. These crews created their own dances which developed fame in the Dancehall scene. Some of the artists who popularised this new era of Dancehall were [[Bounty Killer]], [[Beenie Man]], [[Elephant Man (musician)|Elephant Man]], Shalkal Carty, [[Popcaan]], [[Vybz Kartel]], [[Konshens]], [[Mr. Vegas]], [[Mavado (singer)|Mavado]], [[Ward 21]], [[Marion Hall|Lady Saw]] and [[Spice (musician)|Spice]], some of whom saw international success. This success brought forward mainstream appeal toward Dancehall which lead into the genre's modern era.<ref name=":11"/>
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