Two sound clash contributions – theory and memory – from Norman C. Stolzoff’s Wake the Town and Tell the People:
“The clash first emerged and continues to function as a way for particular sound systems to differentiate themselves and thus clear a space in a crowded field of competitors. In this sense, the clash operates as a dramatic embodiment of the competition within the music business, in particular, and within the lower class, in general.”
“To pull the crowd into their particular dance, the sound operators would string up steel horns in trees, pointing them out toward the street, or if nearby, toward the other dance, trying to drown out the other sound system’s music.”
