Editing Dancehall (section)

=== Riddims ===
A single riddim can be used in multiple songs, paired with different sets of lyrics; the inverse is also possible, with a single set of lyrics being attached to different riddims.&nbsp; Riddims and lyric sets are not exclusive to any one artist, and these can be and are spread around with one particular riddim, '[[Real Rock]],' first recorded in 1967 for a song of the same name, being used in at least 269 songs by 2006 over the course of 39 years.<ref name=":3" /> Peter Manuel and Wayne Marshall noted in 2006 that most songs were set to one of about a dozen riddims that were in vogue, with the exceptions being the work of individual, often high-ranked, artists.<ref name=":3" /> Recording over riddims forms the basis of dancehall, with modern dancehall layering vocals over ostinatos; the DJs providing the vocals thus, in the words of Manuel and Marshall, carry the song, unlike older dancehall where vocals were interwoven with full songs.<ref name=":3" />

These practices' roots can be described with the concept of families of resemblance as coined by George Lipsitz in 1986 – similarities between other groups' experiences and cultures (Lipsitz, p.&nbsp;160).<ref>{{Cite journal|last=Lipsitz|first=George|date=1986|title=Sound Clash: Jamaican Dancehall Culture at Large|journal=Cultural Critique|volume=5|pages=160}}</ref>&nbsp;Here, the term might describe the links between different artists via shared riddims and lyric sets and through common experiences incorporated into the music.