Author Topic: I Really wonder what Djuna & Bozi were thinking about Koffi & CNN  (Read 783 times)

Mfumu Vata on: March 05, 2020, 21:27

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After collecting some cries of Ponderation 8 (Bazo banga), Victoria Eleison (pesa model ya kobonga na vie), BCBG/Maison Mere (Shofele munu Ku kwiza), in the Force de Frappe they animated the cri “kosala kindumba na Matadi” which Theo Mbala used to animate in Bozi’s album Film Ebaluki with also the cri “mpi mpi, ya ofélé” which Djuna Mumbafu used to animate in concerts (1999-2000) with his Delta Force-fraction after leaving Lofombo. King Kester Emeneya was already furious for them dancing the dance Kiwanzenza at Bercy, while just he just presented on tv when he was about to record Longue Histoire in 1999.

Was it because they barely spent time in Kin to prepare some cris for Force de Frappe ? Because they just spent 1 month in Kinshasa when Attentat came out and they immediatly went to Europe prepare the Bercy-show there for 1 month.

congo-243 #1 on: March 06, 2020, 00:49

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Wow u learn something new every day, Koffi jacked a lot of animations(he's not the only one) Why wasn't Kester angry at others doing the dance like for example JB?

Wenge1995 #2 on: March 06, 2020, 01:17

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In the 90s and early 2000s, people were sharing cries so it wasn't too big of a deal then. So long as the generique was danceable and the songs were good then people generally gave a pass to being "inspired" by another.

CM PRINCE #3 on: March 06, 2020, 01:25

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In the 90s and early 2000s, people were sharing cries so it wasn't too big of a deal then. So long as the generique was danceable and the songs were good then people generally gave a pass to being "inspired" by another.
Yup and it’s because of Maison Mere bands stopped sharing cries because MM were saying no one could use Koyimbi Ko (That crie got soooo annoying after a period of time) but then a few years later a Maison Mère then QL later on started using Kisanola 


Kizito #4 on: March 06, 2020, 09:07

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congo-243 #5 on: March 06, 2020, 14:24

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In the 90s and early 2000s, people were sharing cries so it wasn't too big of a deal then. So long as the generique was danceable and the songs were good then people generally gave a pass to being "inspired" by another.
Yup and it’s because of Maison Mere bands stopped sharing cries because MM were saying no one could use Koyimbi Ko (That crie got soooo annoying after a period of time) but then a few years later a Maison Mère then QL later on started using Kisanola
Such a stupid rule of them and hypocrital.

Mfumu Vata #6 on: March 06, 2020, 15:06

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In the 90s and early 2000s, people were sharing cries so it wasn't too big of a deal then. So long as the generique was danceable and the songs were good then people generally gave a pass to being "inspired" by another.

yes, in the 90s and early 2000s. But people were mostly making it a big deal from it if Koffi was using it, because he was mostly getting cries when those bands who created it, hadn't released it on the cd yet or not crediting folkloric bands or streets bands for it.

For example in 1998, just after that Koffi used the cri "Kuzana Mpimpa" which was in first animated "Kuzan Shona" by Wenge El Paris, made Marie Paul furious because they hadn't released and recorded Couvre Feu yet. The same for all the cries, Koffi Olomide used from Wenge 4x4, using the new cri "Bayeba te, somo" which they used to animate in concerts which made the guys angry. But it coincided with the split of Wenge, but JB Mpiana was still throwing some little shots to Koffi for that in interviews they made during the Europe tour of 1998 and Tutu Kaludji stopped with animating that cri "bayeba te, somo".

Radja Kula was furious against Koffi for using some of his dance and cries in the Magie-album. That's why he started at some point crediting the band Nouvelle Image in the videotapes of 1995 & 1996 for the dance Kibinda Nkoy. I remember Werrason being mad at Koffi, for dancing the Koyimbi-dance in the Effrakata-videoclips, saying that he didn't like the way they didn't credit or thank them to his fans during a concert in Kingabwa, coming then with a new version of Koyimbi-ko which was more with the hips.


Mfumu Vata #7 on: March 06, 2020, 15:08

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Its for these reasons why most people in Kinshasa and the collegues don't really respect atalaku's of Quartier Latin. Since that they see them as thiefs and copycats. Because they even went to use cries from bands (Anti Choc & Delta Force 'aile Djuna') who were on their decline.

Mfumu Vata #8 on: March 06, 2020, 15:21

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Wow u learn something new every day, Koffi jacked a lot of animations(he's not the only one) Why wasn't Kester angry at others doing the dance like for example JB?

JB Mpiana started the dance when Longue Histoire was already on the market and the dance being officialy presented on tv (before the release), while with Koffi the dance wasn't yet presented officialy on tv and concerts, but they all saw it live on tv when they performed at Bercy. With Koffi then acting on the French media like he created a the dance, which he did with Ndombolo after performing at Zenith & Olympia and people in Kinshasa having something like what? Emeneya would attack him later in 2004 again for it, being furious about Koffi using the dance "Enterrement, salle des morts" which was a huge succes in Kinshasa back in 2003 at concerts. (CNN animated it in Monde Arabe, but the impact wasn't that strong). With Koffi saying that he hadn't the right to say it, because those dances are created by shegues and street bands (he had a point with that)

Here's an interview of Emeneya back in 2005, talking about Koffi using dances of Wenge & Emeneya, coming quick  with his band in Europe to act like he created the dance.



from 20:52 min

Mfumu Vata #9 on: March 06, 2020, 15:25

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who created Kisanola?

its a street-band from Kintambo, but I can't remember the name. The guy who created the cri is now a member of Cele Kibinda's band. He's the same guy who created the mulunge-cri. The cri/dance was a huge succes in Kinshasa with all bands using it (even BCBG, but not the cri), but when Maison Mere used, it reached another dimension. Quartier Latin came shortly after it, but they were then seen as copycats.

CM PRINCE #10 on: March 06, 2020, 18:30

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Its for these reasons why most people in Kinshasa and the collegues don't really respect atalaku's of Quartier Latin. Since that they see them as thiefs and copycats. Because they even went to use cries from bands (Anti Choc & Delta Force 'aile Djuna') who were on their decline.
It angers me a lot when guys like Mboshi and CNN don’t get the praise they deserve cause those two could easily run a whole show by themselves and were certainly no passengers. Mboshi didn’t really use any cries from clan wenge in academia only “Ma kilima” In viagra. Mboshi and CNN deserve more respect

archos #11 on: March 07, 2020, 06:59

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who created Kisanola?

its a street-band from Kintambo, but I can't remember the name. The guy who created the cri is now a member of Cele Kibinda's band. He's the same guy who created the mulunge-cri. The cri/dance was a huge succes in Kinshasa with all bands using it (even BCBG, but not the cri), but when Maison Mere used, it reached another dimension. Quartier Latin came shortly after it, but they were then seen as copycats.

guylain mozindo?

Manzambi94 #12 on: March 07, 2020, 09:03

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who created Kisanola?

its a street-band from Kintambo, but I can't remember the name. The guy who created the cri is now a member of Cele Kibinda's band. He's the same guy who created the mulunge-cri. The cri/dance was a huge succes in Kinshasa with all bands using it (even BCBG, but not the cri), but when Maison Mere used, it reached another dimension. Quartier Latin came shortly after it, but they were then seen as copycats.
In fact when I was little and Alerte Generale came (with the concert at fikin showing the Kisanola dance showcase) I was so confused because after Alerte General I have heard the same dance on Skol Longitima and I was super confused since Werra was so clear about not taking his cries. I am glad to hear that it isn't actually Werraesque