According to Henriques, the Sound System has also played an influential role in the global influence of Jamaican music internationally. It has "proved itself to be one of the most efficient of musical distribution mechanisms," (218) which has resulted in Jamaican music's influence on genres such as , , and . While part of its influence can literally be credited to its superior audio over radio, the Sound System also acts as a symbolic transmitter of shared experiences across the .
These sound systems were the method in which these migrants were able to maintain their cultural connection with their roots. They broadcast the remixed samples of Reggae beats and created an underground music culture. This culture was separate from the larger population which relied on the radio to provide popular music. These sound systems were played in warehouses, clubs, and street corners. This was not simply just music played on the radio for a few people to hear, but a culture that involved many people was developed out of being consumed by sound through large sound systems. Sound system culture presented what Julian Henriques refers to as sonic dominance. He is strategic in his usage of the word dominance because it is visceral and this term embodies the "power and the pleasure of the sonic" (452). The sound is an "enveloping, immersive, and intense experience" (451).
The culture of the Sound System was brought to the UK with the mass immigration of Jamaicans in the 1960s and 70's. Notable UK Sound Systems include Sir Coxsone Outernational , Channel One, , Jah Observer, Iration Steppas, Fatman International and . One of the first sound systems in the United States was Downbeat the Ruler, founded in in the late 1970s.
An important part of sound system culture is the , an organized battle between two systems. The Guinness Sounds of Greatness is one of many such clashes. In 2009, the Guinness clash was organized into three parts: a 'juggling' round, where each system gets 15 minutes to get the crowd doing; a 'tune fe tune' exchange of "commercial releases"; and a 'dub-fe-dub', when the systems alternate "specials done specifically for the sound system playing the recording".
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