I will do the translation to night or tommorow

Here Biblos Lufula talked about the reason of Saddam's grude towards Wenge 4x4, which made him support Wenge El Paris, the foundation of Wenge Maison Mere. He also talked about the creation of Ndombolo, etc. Beside that he revealed also that after failing to recruit Manda Chante in Wenge Maison Mere, they wanted to recruit Marie Paul as musician and make him the president of Wenge Maison Mere to replace JB Mpiana and Werrason holding his role as financial director (now I understand why Marie Paul always keep saying for years that he's the founder of Wenge Maison Mere) and Marie Paul accepting it, but changing his mind on the last minute after talking with his wife.

Biblos started the interview good, but he messed it up towards the end, by claiming that Marie Paul still have succes and between Werrason and JB Mpiana there's no winner. I think that his love for JB Mpiana and Marie Paul is to big. Because Marie Paul succes came to end when he came to Europe in 2000 with almost all concerts being big mpiaka's and KO Debout flopping hard, he made a comeback with Eboulement, but after that he wasn't the same guy anymore that he used to be in the 90s. On JB Mpiana's side, JB Mpiana lost the war against Werrason when the Schengen-ban came, which made Werrason made him dominate even more, having already the whole press and political class behind him.

I don’t know about Ferre, but Fally pays the same way like Koffi used to do, $100 in Kinshasa, $300 abroad.

It is not that they hated Emeneya, its just that they didn’t want him to take the n1 spot again as most popular artist, like he used to be from 1982 until 1988 in Congo. But that always the case with Congolese top artists who are down. It’s just that all archives of Emeneya’s succes are lost, not any documentary about him made and that press did his best to minisize him after Nzinzi. But if you ask people who witnessed his succes, they would say how popular he used to be at that time. Emeneya had difficulties to leave his house without a big crowd in that era (just the way Werrason & Marie Paul used to walk with big crowds behind them), also he could sometimes perform 4 times in one day and he filled all stadiums you can imagine of that era in Kinshasa (Stade de 20 Mai & Stade de 24 November) and cities of Congo (back in those days artists you to tour alot within in country and people used to live well. Also those those unforgettable fara-fara’s against Viva La Musica in those years, where he used to humilate them every time (Studio Maman Ngebi, Intercontinental, Palais du Peuple & Lubumbashi). Werrason just a ungrateful guy, he asked his brother for support, when Wenge 4x4 split. But he refused to help Emeneya, when it was his turn to ask for support. That’s why their relationship were on cold until his death.

Werrason & Koffi aren’t beefing anymore since 3 years and often praise each other in interviews. Koffi & Werra have out-on relationship, back in 1998 they already beefed, because of Werrason discovering that Kodfi wanted to steal hos musician. With him then not mentioning him anymore in Coco Madimba-song during concerts (but nobody noticed), they reconciled just before Bercy. But their relationships were build on hypocrisy.

@Mfumu Vata

Why did Adolphe block Papillion, Fiston, Chibida, Gianfranco and Spino La Djatence from having songs on Mouna? Was his plan to unsettle them or did their fallout result from a lack of payment?

 I remember Wenge and Quartier Latin were recieving cars and seeing a change in lifestyle after European tours. I remember you told me that Kester's band briefly broke apart because they got jealous of other bands for those reasons.

I think that Adolphe Dominguez did a 12 on them, to punish them, maybe they started to disrespect him during the tour (musicians often become big headed during Europe-tours) . It was already weird that he left Lady Miyembe (the guy who did Ferre's role in Affaire Tonya Tonya) in Kinshasa. There were already alot of problems during the tour. We will know the truth when on of them will do an interview to explain what went wrong during that tour. Didier Lacoste was also close to leave during the tour.

I don't thnik that it was about payment, because except performing at big halls like Zenith, Olympia, Bercy, musicians are mostly paid towards at  the end of the tour before returning to Kinshasa (that is the moment that creates alot of departure since the 80s). Sometimes leader don't want to share the money and were lying to their musicians that they would be paid in Kinshasa and while being in Kinshasa, they would ended up by not being paid, having a hard time the next 9, 10, 11 months or even 12 months (1 year) before returning back to Europe. In meantime giving their first vip concert at Cinemax or Grand Hotel Kinshasa with those flashy clothes and haircuts with the public and family, not knowing that they had nothing in their pocket. I remember Baby Ndombe, saying in an interview that they were furious at Werrason for not crediting them in press for the 3 buses the bought for the soccer clubs As Vita, Imana CS and Bilima (just a strategy to get some sympathy from the public, after being hated by alot of people for forcing Adolphe out from Maison Mere). Because before returning to Kinshasa, Werrason said that he wouldn't pay them, since that he bought with their money those buses, saying that it would be in their advantage. Some disagreed, but other accepted it (they were very naive at that time). On the end they all turned to be dissapointed after performing at Stade des Martyrs and presenting those buses with Werrason then getting all the credits from the public and the press, not knowing that some guys sacrified themselves for that.

There wasn't a change in lifestyle for musicians of Quartier Latin and Wenge after European tours, because they not paid when performing only on rare occasion (except in Quartier Latin were they were paid every month $100 and for concerts in African countries $300). The cars, expensive clothes they were showing on tv were to impress the population, but in reality they had nothing. They were suffering very hard and life for them became even worser, then before arriving in Europe.  Yes, they created relations in Europe where they could call to ask/beg for money, but that isn't fun to do on a monthly basis. If you have been in Europe, the whole family, all friends will be in your house to ask for money, while don't even have that much and you aren't paid well, plus you are forcer to still give a false impression on the streets and tv. That's why most musicians of those bands had sugamother (alot were married) who were in the 40's, 50's and 60's, sidechicks from rich families who were living in Gombe, Ma Campagne, Binza, Limete and Lemba, hoes who were selling their body, just in order to surive. Alot of guys started to become gay from the mid-2000s to get money from bankdirectors, influent politicians and businessmen. One famous leader is even married to a woman, who used to sell her body and feed him, when he used to be a musician of those bands. That woman is often praised on social media,but most people don't even know the truth about her past.

Yes, the musicians of Emeneya weren't about the way they weren't touring in Europe while musicians of Nouvelle Ecriture, Wenge BCBG, Quartier Latin and Wenge Maison Mere were going there every year and coming back with cars and expensive clothes. But that was not the reason of the split. One of the main reasons was that they already suffered very hard in Kenya where they spent 8 months, being abandoned by Emeneya who went to France, during that time they were left behind without money and had to fight for themselves. Go watch Passi Ngiangy, Sampaio, Guejo Star and Ade Lokela's interview with Ado Yuhe. The same thing with Guy Moller and Zoe who were also abandon by Emeneya in the USA before that Victoria arrived in Kenya having to sleep on the street for one day, spending months there in New York. Then they contacted Emeneya, with Emeneya giving them false hope and asking them to rejoin the guys in Kenya (but not calling them), which they did, but they didn't knew that they would suffer even more. So all those things made them being easy manipulated by rivals to leave, since that they were already tired of all that stuff and those rivals not wanting to see Emeneya peforming at Zenith.

http://congovibes.com/congolese-music/guy-moller-doing-his-part-of-the-story/

Bozi was recruited by his friend Evoloko, to replace Gina Efonge, who lost his head after using strong nkisi, spending 2 years long to rehabilitate.

Papa Wemba, Bozi Boziana & Mavuela left Zaïko in solidarity after that Evoloko got fired by DV Muanda. He got fired for indiscipline (the succes went to his head), coming late to rehearsals and concerts. Also they weren’t happy that they weren’t anymore to record outside Zaiko’s recordlabel Prozal, claiming also they weren’t paid enough. So they decided to start Isifi Lokole in Evoloko’s quarter Yolo (also known as Dallas). People then thought that it was the end of Zaiko Langa Langa.

Bozi Boziana has a big ego. Don't be fooled. He is no better than the late Papa Wemba. I find it funny that people say that Bozi was a sweetheart and Papa Wemba was the asshole. But actually it is the opposite in my view. If I look afar, Papa Wemba would be nice than Bozi Boziana. I heard that Bozi and Wemba used to have beef at one point. If so, I would not be shocked.

But at the other end, I do think Bozi Boziana and Papa Wemba could remained in a band if Bozi had realize that Papa Wemba was bigger than him and played second fiddle, then I think Bozi would have been better prepared as a superstar.

Lol, first Evoloko and now Bozi....

Bozi Boziana was  never in a conflict with Papa Wemba. From Zaïko to Isifi Lokole until Yoka Lokole, he was always in the shadow of Wemba, since that he was recruited as replacer of Gina Efonge back in 1973. Bozi Boziana started to earn respect after releasing the hit song Mandolina in 1977. In all conflicts that Papa Wemba had in Zaïko, Isifi Lokole and Yoka Lokole, it was always Bozi who used to side with him, hence why Papa Wemba had always a lot respect for him and they used to praise each other often in interview and invite each other for concerts.

Were the Ziggy clips recorded in Paris or Kinshasa hate to ask what location?

I don't, I saw those clips, but if Anya says that she used to dance in those clips, then it means that they were recorded in Kinshasa. But most clips of Congolese top artists are always recorded between Kinshasa and Paris.

 Merci, it would be nice if you would returning uploading videos for us.

Blandine of the Fioti Fioti?!!! How old was she then ? Blandine is the one of mixed races right or do you mean one of those Chance Eloko Pamba-dancers ?