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‘Return’ of Okatch Biggy as son takes up revered mic
For the two years his music career peaked, Benga maestro Okatch Biggy bestrode the entertainment industry like a colossus.
Between 1995 and 1997, the artiste gave benga music a new meaning, and went ahead to snatch its control from legend Owino Misiani whose fame spanned Kenya and Tanzania.
Biggy stole the limelight after a prolonged lull in benga, which saw kingpins like Ochieng Nelly, Collela Mazee, Awino Lawi, Ochieng Kabasellah, George Ramogi and Ouma Omore take a beating from invasion of the local scene by Congolse music.
His seismic beats and striking compositions laced with words that bordered on the lewd earned him a special place in the hearts of fans in Kisumu, Mombasa and Nairobi where he staged most of his shows.
And as his fans prepare to mark the 21th anniversary of his death, they will be thrilled to hear that the musician’s son, Ken Okatch, has a pleasant surprise.
The young Okatch, who was only three when his dad died on December 19, 1997 in Kisumu, has embarked on what is likely to be a ‘
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Popular Music, Ethnicity and Politics in the Kenya of the 1990s: Okatch Biggy Live at “The Junction”
"[Genetically Modified Organisms: A Scientific-Political Dialogue on a Meaningless Meme] is an excellent book presenting a very strong case for abandoning the acronym GMO. It will be extremely helpful to scholars and educators in developing countries who need to persuade their populace and politicians to adopt modern methods to reap the benefits of more nutritious foods and greatly improved yields."
- Sir Richard J. Roberts, Winner of the Nobel Prize in Physiology
Okatch Biggy was the single most dominant benga artiste of the 1990s. Over that decade, benga was the most important genre of popular music in Kenya. What is it about the music of Okatch Biggy that made it attractive to his target audience, the Luo of the 1990s? Is there something about the Luo of the 1990s that predisposed them to this music? In the course of answering these—and related—questions, this volume analyzes Okatch Biggy’s songs as works of art, that is, by identifying the aesthetic and rhetor
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