On Wednesday morning, the\u00a0world declared\u00a0a "pop emergency" when Rihanna shared\u00a0"Work," the Drake-assisted lead single off of her long-delayed, longer-awaited new album,\u00a0ANTI.\u00a0When\u00a0Rolling Stone\u00a0called\u00a0the\u00a0minutes-and-change radio rip of breezy beats produced by Boi-1da\u00a0"tropical house-flavored," it sparked a\u00a0retribution even swifter than when\u00a0Travis Scott\u00a0slammed\u00a0rumors that he was behind the LP's seemingly endless release day pushbacks.\u00a0Idolator's Bianca Gracie was among the first to respond\u00a0("What a joke! You do know where that sound originated from right?"), followed in quick succession by users correcting the mag that its rhythmic\u00a0sway is not the latest trend in pop music \u2014 it's dancehall. And\u00a0RS\u00a0wasn't the only one: Music critic Jody Rosen attributed the song's understated style\u00a0not just to Rihanna's "Caribbean roots," but to the steel drum derivations on Justin Bieber's latest Purpose\u00a0singles. It was a lot to take in, especially before lunchtime. You guys are creating a problem. This is DANCEHALL-inspired. Stop whitewashing my culture & do actual research. https:\/\/t.co\/LkAH6eUYR4 \u2014 Pusha Bi. (@BiancaEnRogue) January 27, 2016 @RollingStone these white Devils said Tropical House pic.twitter.com\/rFWGr5f3fs \u2014 petty crocker (@moschinogrande) January 27, 2016 So let's back up a little bit here. "Tropical house" is dance music with fewer\u00a0than 120 beats per minute, which means you can sort of loosely bop your body around to it \u2014 ideally, poolside or on a beach somewhere \u2014 without throwing yourself into the faster-paced, harder-edged fray of house music, techno, and EDM. Its easy melodies are constructed almost entirely from synthesized pan flutes, marimbas, and "Can You Feel the Love Tonight"-lite pianos; it's safe to say no producers who play tropical house\u00a0will be booed for bringing actual instruments onstage at an electronic music festival.\u00a0Rising Norwegian DJ Kygo, whom audiences started paying attention to when he filled in for Avicii\u00a0at TomorrowWorld in 2014, is the best-known practitioner of trop-house, which first started floating down the increasingly easier-listening mainstream in the fall of last year, when listeners begin\u00a0craving warmer sounds to ride out the coldest season. https:\/\/www.youtube.com\/embed\/9Sc-ir2UwGU Tropical house enjoyed Stateside\u00a0exposure as a genre thanks to Justin Bieber and Skrillex, who accented two-thirds of the prodigal pop\u00a0prince's\u00a0most successful singles \u2014\u00a0"Sorry" and Jack \u00dc's "Where Are \u00dc Now" \u2014 with thunking drums and "dolphin" squeaks.\u00a0(Though many listeners might assume Skrillex also produced the similar-sounding woodwinds and\u00a0tick-tocking strings on\u00a0"What Do You Mean?," he did not). It's not impossible to understand why there's confusion between different kinds of\u00a0equatorial-derived or -influenced dance music: "Sorry" and Kygo's giddy 2015\u00a0track\u00a0"Firestone"\u00a0share rhythms and melodic accents associated with the tropics, which\u00a0can be heard in their rawer, original form on something like crossover artist\u00a0Popcaan's menacing\u00a0"The System"\u00a0from 2014. But even given the tonal similarities linking the former two songs to the latter, their plinking drops are literally half a world away from the time signatures and history\u00a0of the greater Caribbean area. Upon listening more closely to the rolling bounds undergirding\u00a0"Sorry," it's clear they're closer to\u00a0the music heard in brick-and-mortar dance halls in Jamaica in the 1970s than trop-house. And the problem here \u2014 which those classifying\u00a0"Work" as trop-house are contributing to \u2014 is that music from the West Indies\u00a0and\u00a0its founders, Top 40 purveyors, and lesser-known practitioners need to be more\u00a0in the conversation around the pop songs they influence. After all, Justin Bieber's novel sounds\u00a0catalyzed\u00a0one of the best sales weeks of last year. Most recently American pop songs derived from the greater Caribbean area have been getting noticeable shine via Popcaan, who has been successfully infiltrating radio with an acknowledged dancehall background.\u00a0The Jamaican star followed up\u00a0his ebulliently booming 2014 debut LP\u00a0Where We Come From\u00a0with guest turns and influence on\u00a0Jamie xx's bouncy "I Know (There's Gonna Be Good Times)"\u00a0and AlunaGeorge's latest single, "I'm in Control." https:\/\/www.youtube.com\/embed\/BjLBB-TMa84 The real issue here isn't technical or branding differences between\u00a0genre signifiers, it's that arbiters of musical knowledge are contributing to the continual whitewashing of dance music's roots in black, Latino, queer communities \u2014 in other words, artists who already\u00a0could and should be represented in the mainstream. Rihanna's entry into the big leagues, 2005's "Pon de Replay,"\u00a0came out when Justin Bieber's age was just barely in double digits; let's\u00a0give the musician behind\u00a0it full credit, without saying her latest song is\u00a0influenced by someone\u00a0who was recently kicked out of ancient Mayan ruins\u00a0for desecrating them.\u00a0(Also, for the record, before Kygo started spinning\u00a0tropical house, it was called Balearic house, and your parents were probably snorting\u00a0blow to it while topless in\u00a0Ibiza in the 1980s.) As Esquire\u00a0rightly pointed out, this is our chance to give\u00a0dancehall its proper shine\u00a0in the mainstream, so let's let it happen \u2014 and open the door for all of the other DJs and producers making the weirdest, most wonderful dance music today.