OVERVIEW: A 1980s Far Echo of African music noir.
In the ‘70s, Otis Dundos was just another wee-wee bare foot, horny-toed boy growing up with his dusty feet and bare chest in Pandpieri, down here in Kisumu. Days were made up of going to the lake to have fun. It was a life of dangerous encounters.
In the ‘80s, then, as a man-boy he tried fit in. He tried to observe and remember, now, as a young adult, to commit the memories to music in a lively and extensive fashion. Performing with Nico Opija and KDF in Kondele gave him the significant beginning and a journey into music.
But in all you do, you’re not accomplished until you’re in Nairobi. Nairobi was the perfect, moist setting to give succor to a young, romantic heart. The cold, cold heart Nairobi’s early ‘80s nefarious pop culture schooled him into becoming a more evolved artist. The urban scandals of bands provided an interesting kaleidoscope in the Nairobi scene.
Europe and Megastardom
Returning from Nairobi to Kisumu with a new band, Victoria, he rode the Urban Benga wave into stardom. A tour of Europe made him a megastar. But he still came back as a normal Kisumuan working for the next day. He served Kisumu and really not unwillingly. And Kisumu never got tired of hearing the Urban Benga beats of Orchestra Victoria.
Kisumu was always a slobbering, panting, salivating hotbed of anticipation and drooling expectancy. Kisumu is as much a town of problems as it is a town of drama, subdivision of fantasy. Drama? Dreams? Did he change Kisumu musically? That’s not the issue. The issue is for all his efforts, guitarist Otis Dundos always had bigger problems here in Kisumu than everbody else.
Providing a catharsis through comedy, lancing the lakeside city’s moral boil with satire, Kisumu tells the life ordinary men and women trying to live the Kenyan African dream. It’s is a story of humble beginning, awkward and misdirected fumbling and miraculous accomplishment.
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