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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 experience is so strong that "sounds carry people, as much as people carry sounds; 'vibes' find bodies to move" (230). Dance acts as a natural, immediate response to dancehall sounds, and as Henriques puts it, "bodies have no musical burden to bear; rather they are borne along, even berthed, by music."
550:, sound system owners created—and played—a steady stream of the singles the people preferred: fast-shuffle boogies and ballads. In response to this shift in supply, Jamaican producers introduced to their work some of the original elements of the Jamaican sound: rhythm guitars strumming the offbeat and snare-drum emphasis on the third beat, for example. As this new musical form became more popular, both Dodd and Reid began to move more seriously into music production. Coxsone Dodd's production studio became the famous
606:, known as the Father of Hip-Hop, was responsible for importing many of the elements of Jamaican sound system culture to New York. Having immigrated with his family to the Bronx from Kingston at the age of 12, Herc grew up around dancehall parties, and despite being too young to enter, he would hang out outside the parties and listen to the music. When he started hosting his own parties in New York, he was known for having the loudest and most impressive sound system of anyone in the city, which heavily emphasized
97:
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36:
577:, 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 going; 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".
514:, rose to prominence. As time progressed, sound systems became louder—capable of playing bass frequencies at 30,000 watts or more, with similar wattage attainable at the mid-range and high frequencies—and far more complex than their predecessors. Competition between these sound systems was fierce, and eventually two DJs emerged as the stars of the scene:
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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
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music, but as time progressed and more local music was created, the sound migrated to a local flavour. The sound system remained successful when the conservative, BBC-modeled
Jamaican establishment radio refused to play the people's music, while DJs could play whatever they wanted and favored local
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Sound systems were the method in which
Jamaican 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
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The popularity of a sound system was mainly contingent on one thing: having new music. In order to circumvent the release cycle of the
American record labels, the two sound system superstars turned to record production. Initially, they produced only singles for their own sound systems, known as
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As sound systems continued to gain in popularity through the 1960s and 1970s, they became politicized in many instances. The DJs would often satirize current affairs and local events, taking on a “singing newspaper” role. Many sound systems, and their owners, were labelled as supporters of a
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sounds such as reggae. The sound systems were big business, and represented one of the few sure ways to make money in the unstable economy of the area. The promoter or DJ made his profit by charging admission and selling food and alcohol; often thousands of people were in attendance.
570:), but most of the sound systems tried to maintain political neutrality. Nevertheless, as a cultural and economic phenomenon, the sound system was affected by the vast socio-political changes taking place in Jamaica at this time.
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By the mid-1950s, sound systems were more popular at parties than live musicians, and by the second half of the decade, custom-built systems began to appear from the workshops of specialists such as
498:, founded by Chinese-Jamaican businessman Tom Wong, was the first commercially successful sound system and influenced many sound systems that came later. In the beginning, the DJs played American
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The culture of the Sound System was brought to the UK with the mass immigration of
Jamaicans in the 1960s and 1970s. Notable UK Sound Systems include Sir Coxsone Outernational,
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510:, who constructed wardrobe-sized speaker cabinets known as "House of Joy". It was also around this time that Jamaica's first superstar DJ and MC,
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tells the story of the intimate dance, soundsystems, and social backdrop of the Afro-Caribbean community of South London in the ’70s and ’80s.
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Henriques, Julian, “Sonic diaspora, vibrations, and rhythm: thinking through the sounding of the
Jamaican dancehall session.”
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genre and its influences across space and between the diaspora communities of the "Black
Atlantic" culture of the
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Henriques, J. F. (2003). "Sonic
Dominance and the Reggae Sound System Session." In M. Bull and Les Back, eds.
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1021:"Sonic Bodies : Introduction : Reggae Sound Systems, Performance Techniques & Ways of Knowing"
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featured authentic culture, characters and mannerisms of the 1970s
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over radio, the sound system also acts as a symbolic transmitter of shared experiences across the
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would load up a truck with a generator, turntables, and huge speakers and set up street parties.
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596:. One of the first sound systems in the United States was Downbeat the Ruler, founded in
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music. The sound system is an important part of Jamaican culture and history.
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The sound system concept first became popular in the 1940s, in the parish of
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sound using local musicians evolved into a uniquely Jamaican musical genre:
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in the UK and blacklisted in the United States, due to its depiction of
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969:"The Importance of Reggae Music in the Worldwide Cultural Universe"
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was embraced by a largely white, teenage audience and evolved into
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Wake the town and tell the people: dancehall culture in Jamaica
542:. This shift was due partly to the fact that as American-style
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522:. Besides the DJ, who rapped over the music, there was also a
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Last Night a DJ Saved My Life: The History of the Disk Jockey
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Reggae Heritage: The Culture, Music And Politic (Volume 1)
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1264:. New York: CreateSpace Independent Publishing Platform.
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with his wife and children and in his own home, and the
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1008:. London: Headline Book Publishing. pp. 168–171.
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1337:"The Sound System: Contributions to Jamaican Music"
701:in 2019 and made available in the United States on
685:in the 1970s and 1980s, that it would be given an
1160:"What "Babylon" Captured About Racism and Reggae"
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573:An important part of sound system culture is the
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27:Group of disc jockeys/mobile disco, in Jamaica
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592:, Irration Steppas, Fatman International and
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1190:"Lover's rock: the story of reggae's Motown"
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843:
841:
785:
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722:, part of the 2020 Amazon anthology series
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1208:Angelica Jade Bastién (27 November 2020).
870:The Guinness Encyclopedia of Popular Music
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857:
855:
429:
415:
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980:
838:
830:Brewster, Bill; Broughton, Frank (2014).
809:
791:"BBC - Music - Essential Guide to Reggae"
80:Learn how and when to remove this message
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562:particular political party (such as the
526:, who selected the music/rhythm tracks.
967:Dagnini, Jérémie Kroubo (18 May 2011).
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2038:Caribbean music in the United Kingdom
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1610:Man in Business Suit Levitating emoji
1585:Caribbean music in the United Kingdom
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1077:Jaji, Tsitsi Ella (7 February 2014).
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1939:Reggae bands from the Virgin Islands
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29:
1239:Barrow, Steve; Paul Dalton (1997).
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708:Menelik Shabazz's 2011 documentary
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1904:Reggae Grammy winners 1985-present
1307:. Oxford: Berg, pp. 451–480.
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618:style of Jamaican reggae deejays.
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225:Nationalistic and patriotic songs
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1135:Kay, Jeremy (18 January 2019).
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1004:Brewster and Broughton (1999).
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834:. Grove Press. pp. 92–103.
815:
1600:List of Caribbean music genres
1328:feature from the London-based
982:10.4000/etudescaribeennes.4740
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934:Cooke, Mel (19 October 2009).
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1:
1055:Henriques, Julian F. (2008).
1019:Henriques, Julian Henriques.
832:Last Night a DJ Saved My Life
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1315:: Goldsmiths Research Online
1245:. London: The Rough Guides.
1080:Africa in Stereo - Hardcover
268:Aruba and the Dutch Antilles
7:
1305:The Auditory Culture Reader
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738:community of 1980s London.
60:the claims made and adding
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662:Leroy "Horsemouth" Wallace
594:Saxon Studio International
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1279:Stolzoff, Norman (2000).
1158:Hsu, Hua (7 March 2019).
768:Toasting (Jamaican music)
711:The Story of Lover's Rock
383:St Vincent and Grenadines
2028:List of reggae festivals
1326:"Soundsystem Splashdown"
2083:Sound system (Jamaican)
1630:Sound system (Jamaican)
1372:
1242:Reggae: The Rough Guide
1085:Oxford University Press
899:"BBC - 1Xtra - Jamaica"
679:British Afro-Caribbeans
654:The 1978 Jamaican film
558:founded Treasure Isle.
496:Tom the Great Sebastian
2171:Jamaican sound systems
516:Clement "Coxsone" Dodd
1919:Reggae fusion artists
1605:List of ska musicians
1339:, 2002. Dread Library
1335:John Constantinides,
1287:Duke University Press
1285:. Durham and London:
703:The Criterion Channel
610:. He also introduced
600:, in the late 1970s.
240:Jamaica, Land We Love
18:Jamaican sound system
1924:Roots reggae artists
1260:Gooden, Lou (2012).
1198:, 22 September 2011.
691:institutional racism
1914:Reggae rock artists
1330:New Musical Express
1064:Research.gold.ac.uk
1028:Research.gold.ac.uk
875:Guinness Publishing
736:British West Indian
393:Trinidad and Tobago
263:Antigua and Barbuda
2176:Culture of Jamaica
2073:Dance Hall (venue)
1590:Culture of Jamaica
973:Études caribéennes
948:on 31 October 2014
877:. p. 2330/1.
873:(First ed.).
797:on 14 October 2007
650:In popular culture
373:St Kitts and Nevis
323:Dominican Republic
45:possibly contains
2153:
2152:
2088:Sound system (DJ)
1897:People and groups
1758:Reggae en Español
1643:
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1526:Asian Man Records
1511:Blue Beat Records
1094:978-0-19-993637-3
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16:(Redirected from
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1909:Reggae musicians
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588:, Jah Observer,
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43:This article
41:
32:
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19:
2082:
1888:Walking bass
1817:Samba reggae
1812:Roots reggae
1783:Ragga jungle
1751:Ragga jungle
1629:
1578:Other topics
1332:, circa 1981
1329:
1304:
1281:
1261:
1241:
1233:Bibliography
1218:. Retrieved
1211:
1203:
1195:The Guardian
1193:
1181:
1169:. Retrieved
1163:
1153:
1141:. Retrieved
1130:
1098:. Retrieved
1079:
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1036:
1027:
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1005:
999:
972:
962:
950:. Retrieved
946:the original
939:
929:
918:
906:. Retrieved
902:
893:
868:
865:Colin Larkin
831:
811:
799:. Retrieved
795:the original
723:
717:
716:
709:
707:
672:
670:
655:
653:
624:
620:
604:DJ Kool Herc
602:
586:Aba Shanti-I
579:
572:
560:
528:
508:Hedley Jones
505:
485:
456:disc jockeys
452:sound system
451:
442:
440:
205:
186:Roots reggae
76:
67:
44:
2002:Philippines
1992:New Zealand
1929:Dub artists
1793:Reggae punk
1788:Reggae rock
1736:Lovers rock
1535:Subcultures
1220:16 December
1100:12 December
848:Barrow 1997
816:Gooden 2012
763:Sound clash
732:lovers rock
719:Lovers Rock
699:Kino Lorber
590:Quaker City
575:sound clash
368:Puerto Rico
166:Raggamuffin
151:Lovers rock
2160:Categories
2108:Studio One
1800:Reggaestep
1778:Moombahton
1719:Dub poetry
1625:Ska stroke
1595:Dance hall
1552:Scooterboy
1501:Studio One
1480:Rocksteady
1448:Influences
1313:1859736130
1186:David Katz
952:31 October
908:11 October
801:11 October
774:References
758:Rocksteady
552:Studio One
472:rocksteady
358:Montserrat
353:Martinique
333:Guadeloupe
308:Costa Rica
181:Rocksteady
161:Niyabinghi
141:Dub poetry
54:improve it
2123:Blue Beat
2068:Suedehead
2053:Rastafari
1982:Australia
1965:Mauritius
1948:By region
1807:Reggaeton
1697:Dancehall
1569:Suedehead
1429:Australia
1212:Small Axe
1120:ignored (
1110:cite book
991:1779-0980
903:Bbc.co.uk
748:Dub music
724:Small Axe
705:in 2020.
671:The film
582:Jah Shaka
556:Duke Reid
532:Dubplates
520:Duke Reid
460:engineers
348:Mauritius
131:Dancehall
58:verifying
2078:Dubplate
2063:Skinhead
2058:Rude boy
1975:Zimbabwe
1878:Toasting
1858:One drop
1832:Two-tone
1635:Toasting
1557:Skinhead
1547:Rude boy
1413:Two-tone
1398:Ska punk
1393:Ska jazz
742:See also
687:X rating
640:fidelity
616:toasting
554:, while
524:selector
488:Kingston
466:playing
445:Jamaican
388:Suriname
378:St Lucia
318:Dominica
278:Barbados
258:Anguilla
211:Toasting
201:Ska punk
196:Ska jazz
70:May 2017
2021:Related
1997:Pacific
1970:Nigeria
1868:Singjay
1827:Singjay
1475:R&B
1455:Calypso
1171:26 June
1143:26 June
683:Brixton
674:Babylon
657:Rockers
636:Dubstep
628:Hip hop
566:or the
544:R&B
536:R&B
482:History
328:Grenada
313:Curaçao
293:Bonaire
288:Bermuda
273:Bahamas
52:Please
2093:Riddim
2007:Poland
1955:Africa
1882:Deejay
1863:Reverb
1822:Seggae
1724:Psydub
1709:Dembow
1688:Genres
1678:Reggae
1470:Reggae
1403:Spouge
1381:Genres
1311:
1293:
1268:
1249:
1091:
989:
975:(16).
881:
695:Cannes
634:, and
632:Jungle
518:, and
476:reggae
363:Panama
338:Guyana
283:Belize
171:Reggae
146:Kumina
123:Genres
2048:Mento
1987:Japan
1960:Kenya
1873:Skank
1848:Delay
1746:Ragga
1465:Mento
1434:Japan
1060:(PDF)
1024:(PDF)
726:, is
343:Haiti
156:Mento
1768:Alté
1460:Jazz
1309:ISBN
1291:ISBN
1266:ISBN
1247:ISBN
1222:2020
1173:2021
1145:2021
1122:help
1102:2015
1089:ISBN
987:ISSN
954:2014
910:2021
879:ISBN
803:2021
608:bass
462:and
450:, a
303:Cuba
1714:Dub
1542:Mod
1374:Ska
977:doi
612:MCs
568:JLP
564:PNP
540:ska
492:DJs
474:or
468:ska
464:MCs
443:In
191:Ska
136:Dub
56:by
2162::
1289:.
1192:,
1188:,
1162:.
1114::
1112:}}
1108:{{
1087:.
1083:.
1062:.
1045:^
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985:.
971:.
938:.
901:.
854:^
840:^
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646:.
630:,
490:.
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979::
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77:(
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.