Why was the 1982-1987 generation of Viva la Musica that had singers like Lidjo Kwempa, Luciana Demingongo, Reddy Amisi, Maray Maray and co not really into Sape like that the precedant of Emeneya, Djanana, Debaba, Bipoli and co ? Was it because of them not really having Papa Wemba and Viva la Musica-artists as their idol before joining it or was it because of not having experienced the 1980 Europe and meeting those sapeurs in Paris ? I remember years later Papa Wemba complaining often in interviews about artists like Depitcho being called "Roi des Crocos" and Adolphe Dominguez "Le Roi Sapeur", but Reddy and Stino doing nothing to counter them.




However, when I think back about those old concerts in Europe back in the 1990s, I can say that late Cele le Roi and Gloria Thukadio were defending Viva la Musica well in Religion Kitendi. But them not having same aura like Reddy, Stino or even Jolu Mubiala.

I know that Papa Wemba encouraged Stino and Awilo, the youngest members of the group, to embrace the trendy fashion of that time, inspired by the punk trend: leather jackets, ripped jeans, and Dr. Martens shoes.

Is there a link between the fact that the second generation is more intellectual and slightly less focused on street culture than the first generation?

I think artists like Luciana, Lidjo, Reddy, Maray, Stino, and even Jose Fataki. Despite being assertive and having their flaws (especially related to drugs), they presented themselves as "Muana ya classe" and were less involved in fashion culture, even though they wore branded clothes. For instance, in the first generation, at their beginnings, Kester and Fafa had a similar style, referred to as "Muana ya classe," but had to adapt and become 'sapeurs' and « yankee » to find their place in the group.

It seems to me that the second generation traveled for the first time around 1985/1986. It was also complicated for them to acquire 'sape' (stylish clothing), except for Maray Maray.

Considering that after Visa 80, the first generation was able to return with European clothes, they brought a new style to Zaire. For example, Djanana came back with dreadlocks and earrings (everyone thought he had become gay).

Indeed, I had already noticed this, and I saw an interview where Wabalonzo confirmed it. There were three groups within one after the departure of de la nouvelle generation: Stino's group with Gloria, another one led by Reddy with Spraya and Djanana, and a more neutral group with Célé le roi, Joly, and Asta Paola.

The implications of this division were evident in their participation in subsequent projects. Reddy did not take part in "Roméo et Juliette," and Stino was not present in the "Prudence" and "Ziggy" albums.

 If the new generation hadn't left, it's entirely possible that artistic and personal affinities would have developed differently within the group. Lidjo and Awilo could have been close to Stino, perhaps sharing similar musical ideas. Similarly, Luciana could have had an artistic connection with Reddy.

Bongo Wende, Fafa, and José Fataki, as older members of the group, might have remained more neutral, perhaps seeking to maintain a certain stability and cohesion within the group despite different artistic directions.