I don't think that Michel Bass, Olivier Tshimanga, Mbetenge Domingo, Luciana Demingongo, Djudjuchet and Nyboma will be happy with what he said and I'm excepting a strong reaction from Michel Bass and Olivier Tshimanga. However, Collegien is of the old generation that wasn't signing papers when doing session work. But at the same time, I think that he's still right about saying that it impossible for Congolese artists in Europe to live only with music as job, by already giving the example of how people live in Europe (paying rent, assurance, etc.) and how much a white person could earn in SACEM to live. I wonder what Maika Munan's reaction to it would be, although not living in France anymore. Because he used to sign contracts with Papa Wemba, Reddy Amisi, Koffi Olomidé, etc. with him being at SACEM often credited as composer of all songs he arranged for them. I hope that Collegien didn't lie, knowing him this could maybe already being his last day in Kinshasa to return back to Europe. Would be nice if Mbuta can get the opportunity to record pt. 2 with him to talk about his time in Wenge 4x4, El Paris, Nouvelle Generation and the tours he did with Awilo, since that we waited for years to finish interviews he did with Teddy Mola.Wenge El Paris was a big scam. Viva la Musica being the only band in Europe to perform every month. Manda Chante said the same thing about Wenge El Paris. If Kongolo Mobutu didn't threaten his parents in Kinshasa by sending soldiers to their house, he would still been in Viva la Musica. Collegien did right to join Nouvelle Generation, because if he stayed he would suffer in Kinshasa and maybe also ending up like Alain Mwepu. All musicians of El Paris that went to Kinshasa for the second time, have until this day kind of regrets about wasting years there and suffering with many being humilated by having to live again in their parents house.