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Check FAQAbout Billie
“Bill Odidi is a print and broadcast journalist based in Nairobi, Kenya with interests in News, Current Affairs, Sports, Art and Culture. He works with the Kenya Broadcasting Corporation (KBC) in Nairobi. He also writes on music and the arts for the Business Daily and Daily Nation newspapers in Nairobi and contributes articles for various websites including www.thisisafrica.me and www.africareview.com. Bill is also a board member of Music In Africa Foundation a web portal dedicated to the music sector in Africa and Ketebul Music, an independent music and documentary production outfit based in Nairobi. Among his documentary projects with Ketebul Music are "Retracing Kenya's Funky Hits" (2012) and "Retracing Kenya's Songs of Protest" (2014) where he worked as a researcher and writer. He co-wrote a chapter for the book "Preserving Popular Music Heritage: Do-It-Yourself Do-It-Together" edited by Sarah Baker (Routledge 2015) He has reported on stories from around East Africa, Ghana, Nigeria, Egypt, South Africa, the U.K, Netherlands, the U.S, Jamaica, China, and other parts of the world. He has contributed radio programs for the BBC World Service and Radio France International (R.F.I) In 2006, Bill was the winner of the Radio for Peace building, Africa (RPFA) “Radio Talk show for Peace building” Award
English
Swahili
Portfolio
Bunny Wailer and the rise and break-up of The Wailers
Bunny Wailer, the last surviving member of The Wailers, passed away at the age of 73, marking the end of a career that saw reggae music become a global phenomenon. Born Neville O’Reilly Livingston, his collaboration with Bob Marley and Peter Tosh led to the formation of The Wailers. Despite challenges, including a fallout with producer Coxsone Dodd and Bunny's aversion to touring, The Wailers achieved international success with albums like 'Catch A Fire' and 'Burnin'. Bunny left The Wailers in 1973 but continued to influence music, embracing dancehall and winning three Grammy Awards. He was honored with Jamaica’s Order of Merit in 2017 and is survived by 13 children, while his partner Jean Watt has been missing since May 2020.
Working towards change in Cameroon’s challenging music industry
The article discusses the music scene in Cameroon, focusing on the band Macase and their influence on the local music industry. Macase, known for their Bantu Groove style, has been a significant figure since winning the Radio France International 2001 Discoveries Prize. The band's bassist, Serge Maboma, is highlighted for his efforts to support a new generation of Cameroonian musicians by providing a rehearsal space in Yaoundé's Bastos neighborhood. Despite the lack of professional structures in the Cameroonian music industry, artists like Macase and the group Jem’m continue to strive for excellence and maintain their unique musical identity. The article also touches on the broader challenges faced by Cameroonian musicians, such as inadequate venues, lack of respect for artists' rights, and difficulties in gaining international exposure.
Remembering benga: Kenya's infectious musical gift to Africa
The article discusses the history and cultural influence of benga music, a genre that originated in Kenya in the 1950s. It traces the roots of benga to the Luo community's adaptation of traditional rhythms and instruments to the acoustic guitar, influenced by Cuban rumba. Pioneering artists like John Ogara and Daniel Owino Misiani are credited with the development and popularization of benga music. The article also covers the spread of benga to other African countries, particularly Zimbabwe, through the efforts of Phares Oluoch Kanindo, the head of EMI's Kenya office. Despite a decline in the number of artists playing benga, the music remains a distinct rhythm in Kenya and continues to be heard as far as Johannesburg, South Africa, as experienced by the author in a cab ride. The article includes a mention of Nairobi label Ketebul Music's compilation album 'Retracing the Benga Rhythm' and discusses the political and social commentary often found in benga music.
The repatriation of Kenya’s musical heritage
The article discusses the repatriation of historical music recordings from the 1950s by Kenyan musicians, which were collected by English ethnomusicologist Hugh Tracey. These recordings are being returned to the Kenyan communities by the International Library of African Music (ILAM) and Ketebul Music, with efforts led by Prof Diane Thram and Kenyan music producer Tabu Osusa. The project aims to preserve and stimulate interest in Kenya's musical heritage, especially among the younger generation. The article also touches on the broader issue of archiving cultural heritage in Africa, mentioning other institutions and individuals who have contributed to preserving African music, such as the Gramophone Records Museum and Research Centre in Ghana and Dr. Wolfgang Bender's collection at the University of Bayreuth. It highlights the challenges faced by African countries in archiving their musical history and the importance of transitioning to digital formats for cultural preservation.
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