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 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." 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 Hip hop, Jungle, and Dubstep. While part of its influence can literally be credited to its superior audio fidelity over radio, the sound system also acts as a symbolic transmitter of shared experiences across the African diaspora. In popular culture The 1978 Jamaican film Rockers featured authentic culture, characters and mannerisms of the 1970s Jamaican reggae scene, featuring Leroy "Horsemouth" Wallace with his wife and children and in his own home, and the Harry J Studios in Kingston. The film Babylon, released in 1980, so accurately captured the raw smoldering tensions between White and British Afro-Caribbeans centered around Brixton in the 1970s and 1980s, that it would be given an X rating in the UK and blacklisted in the United States, due to its depiction of institutional racism. Believed to be too incendiary for general distribution, it would be buried and forgotten following its premiere at Cannes, and would take another 40 years before it would be re-released by Kino Lorber in 2019 and made available in the United States on The Criteron Channel in 2020. Menelik Shabazz's 2011 documentary The Story of Lover's Rock