Over the past 50 years, numerous dancehall events have emerged in Kingston, Jamaica, and thus have become more ubiquitous. Uptown Mondays, one of the most recent, is considered a “sound system dance” (Stolzoff 2000), and is held every Monday evening at Savanna Plaza, Constant Spring Road, Kingston 10. Stanley-Niaah (2004) postulates that such a venue represents a “cultural system in which the sacred and the secular, politics and economics, merge in celebration”. This article seeks to convey observations noted during a visit to the popular dancehall event, Uptown Mondays, and to validate such observations against the backdrop of previous studies conducted by eminent dancehall scholars. Stanley Niaah (2004, p. 110) clarifies that dancehall events' appeal and subsequent power converge around their names, which take the form of the latest dancehall and/or inner-city language. The name Uptown Mondays seems a bit controversial – controversial in the sense that even if patronage extends to other classes, “dancehall remains a citizen phenomenon resulting from the location of key actors, operational spaces and production”. . 107). Closer analysis of the name reveals that it may just be a mere appeal tactic, hinged on Stewart's (2002) idea of ​​external prominence, meaning that the name will attract key participants seeking to to detach themselves from the label of being in the ghetto/downtown and who (seek to) identify with an uptown lifestyle regardless of the realities they face Stolzoff's “juggling” dance (2000,) is applied to characterize the Uptown Mondays. pp. 194-195), in which the songs are played in a non-competitive manner, as opposed to a “clash of sound systems”. This type of characterization is… the focus of the paper… serious scholars of dancehall culture and characterizes the average dancehall event of this type in Kingston, Jamaica. Dance events like Uptown Mondays are nothing but avenues through which multidimensional benefits – whether socially, culturally, economically, emotionally or physically across the spectrum of dancehall culture – are brought to fruition for a number of people in Jamaican society. Works Cited Stolzoff, N. (2000). Wake up the city and tell the people: Dancehall culture in Jamaica. Durham, NC: Duke University Press.Stanley-Niaah, S. (2008). 'Bogle ah di order fi di day': Dance and identity in Jamaican dancehall. Stanley-Niaah, S. (2004). Kingston's Dancehall: a story of space and celebration. Space and Culture, 7(1), 102-118. Stewart, K. (2002). “`So wha, mi nuh fi live to': interpreting violence in Jamaica through dancehall culture” in Ideaz, 1 (1)