Empire Windrush docked in the Port of Tilbury, near London. Some planned to earn money and return home; others wondered what it would be like to stay. There was a lot of work to be done and, by the early nineteen-sixties, the population of West Indian immigrants in England had grown tenfold. They had arrived, initially, to help rebuild a country that had been devastated by war, but they contributed to the construction of something entirely new: a modern, multicultural British society.
These early waves of predominantly Jamaican immigrants would become known as the Windrush generation. They established roots in England, and, as often happens in immigrant communities, the traditions and styles of home began to take new forms. For young Jamaican-British people, reggae music was like a homing signal. The famed producer Dennis Bovell quit his sound system in the mid-seventies, after he was jailed for six months when police wrongfully accused him of stoking a riot.
He and his friends were just having a party. While they heard sweet, soothing sounds that provided an escape from working-class drudgery, some of their neighbors heard danger. Because of scenes of racial violence, it was rated X in the United Kingdom, where it became a sensation. But, until now, it was never formally released in America. The hero, a young man called Blue, is played with a quiet, searching intensity by Brinsley Forde, of the reggae group Aswad. But opting out of some of these cookies may affect your browsing experience.
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