the level of information here is insane,i will translate later but i think a lot might surprise people
one of them is the real meaning of ndombolo animation which was created by his uncle levieux mavuzi

In short he is talking about his"uncle" the best friend of his dad djouna mumbafu and that all that generation of  OG atalakus passed through percussions first(mbonda,lokole,ngongi and co) and all are very strong at it and that ekokota was the one who remained from their group and he joined wenge through his late uncle elpaso who was wenge's drummer
he had a loooooooot of praise for yaya londa djouna's older brother saying that he was an exceptional singer and that he was very influential on pepe kalle and madilu's techniques of singing over the years he was their underground coach
he said that his grandfather and ferre's dad were workmates and close friends and actually missed out on joining ok jazz because of their women of then coming to cause trouble out of jealousy and that they ended up being franco's shadow writers
he talked about how gifted was his own family starting with his older uncle osée mavuzi who wrote a lot for madilu and pepe kalle and was fofo le collegien's close friend but chose to go to army
then about his younger uncle levieux mavuzi saying he is the creator of ndombolo which surprised mbuta and reveals that that name comes from a spiritual book ndombo olo  or something like that which his great grandmother was praying with and levieux who was her favorite grandchildren was often learning a lot of things
he explained that both the animation and the dance started from him and that the kibinda nkoy dance was the roots of ndombolo dance he inspired himself from judo guys and their moves then the monkey dance and (the variations then developped in wenge by bouro seguin and late souzy versace) and that he had originally given it to radja kula and station japan in order to change their style of dance which was rarely about waist but more often about physical choreography but japonais took it to wenge musica,same with yungana which were levieux animation and dance only
levieux was also somono's friend and main provider  throughout his career and he said his uncle levieux is very demanding he can come to a group when called upon and literally decide who will play what and which atalaku should do it
he only rates atalakus who can match ngongi rhythm well which are guys like genta who was trained  in the junior section bana odeon and arumbaya groups which raised late nono,bebe atalaku ditutala djouna ekokota  so he has it natural
and he gives example of some atalakus who had to adapt to be able to do levieux' work,giving the examples of bill who had to be coached by thierry synthé to make that crucial transformation which turned him into the guy who traumatized for ever a lot of congolese people,or the example of brigade and kerozene  who he had actually did not want koffi to use for his creations and he did not rate them until brigade learned the right ngongi tempo and became who he became later on to beautifully reproduce his work
he also gave example of bercy who had to learne it which shaped his most recent form of animation which he started from fleche ingeta(you'll notice that ngongi is HEAVY on that generique probably the loudest ngongi has ever been on a maison mere generique)
he then emphasized on levieux collaboration with jb  talking about the fact that him and jb had fallen out at some point because he was not received the money he had to receive for his work on th and internet  and when werra did tindika lokito jb was on immense pressure to counter from the primus admins and what he was coming with from his atalakus was not convincing the primus guys  so jb contacted levieux via his elder brother mosaka  but levieux being a strong character refused and what ended up convincing him is mosaka  telling their mother who was in terminal stage of illness that his job was in jeopardy if levieux who had the responsability of paying insulin for her every month refused to come and do the job  and she convinced him
so he came with pelisa nguasuma from start to finish  and kindingu fimbu ya mukolo is not a stick or a belt or whatever like that like the name suggests as to say its a big slap towards the rivals,but rather it was some sort of weed he had smoked that day to attract inspiration which he named like that and he primus guys were so happy that they wanted to reward him with a house knowing that they had then got what would counter tindika lokito but he never received that house papers from jb(jb used it to try to get madam back home according to the inside story i had heard years ago)
and he was upset with jb again,because he had grown up and the gifts were not enough anymore as he had grown then when werra switched to primus he did changement de frequence generique and even though it was not that much of a success compared to tindika lokito and they style were not liking the generique proposed by genta which was of genta's old identity of faster more impro-oriented animation so the primus guys asked if they could call that guy who came with pelisa nguasuma and jb then had to convince levieux again who had that roots zaiko like style of generique which primus guys like and he came and literally created the generique in front of them and then  went to studio with them to decided who would do what and how to make it have the result he wanted
and his most recent collaboration with jb is zebuka
he wonders why his friend heritier does not work with levieux to sort forever his generiques issues and that ambulance would fit the ngongi style that levieux builds his generiques on since ambulance was trained by djouna mumbafu  and also why fally does not use levieux for his generiques because he already copied levieux on his style of dancing,and that a lot of people dont know it but fally is carbon copy of levieux' dancing and that fally is from kintambo with one house between theirs and the one of fally's mother its later that he moved to bandal and heritier is the reverse born and raised in bandal next to his friend cambodge then came to kintambo
levieux also worked with ferre on his primus generiques and he witness himself how ferre took time to master levieux' choreography of the second one with that siki koko dance and its probably in the collaboration with ferre that he received the better reward among leaders(apart from the fact genta bought him a car)

It’s these kind of guys and some of the other figures that made modern congolese in the golden era what it was, even guys like Radja kula also Japonais. Who in their various roles worked behind the scenes so that people would  DANCE. Heritiers two Generique on CDG have so many small parts of good partitions on solo and keyboard even some good animation but the structure and flow makes no sense you can listen but can’t dance.

https://www.tiktok.com/@laforcetkl/video/7215623694247398661?lang=fr&q=LEVIEUX%20MAVUZI&t=1712854629231

Just found a video where levieux talked about some of his creations

In short he is talking about his"uncle" the best friend of his dad djouna mumbafu and that all that generation of  OG atalakus passed through percussions first(mbonda,lokole,ngongi and co) and all are very strong at it and that ekokota was the one who remained from their group and he joined wenge through his late uncle elpaso who was wenge's drummer
he had a loooooooot of praise for yaya londa djouna's older brother saying that he was an exceptional singer and that he was very influential on pepe kalle and madilu's techniques of singing over the years he was their underground coach
he said that his grandfather and ferre's dad were workmates and close friends and actually missed out on joining ok jazz because of their women of then coming to cause trouble out of jealousy and that they ended up being franco's shadow writers
he talked about how gifted was his own family starting with his older uncle osée mavuzi who wrote a lot for madilu and pepe kalle and was fofo le collegien's close friend but chose to go to army
then about his younger uncle levieux mavuzi saying he is the creator of ndombolo which surprised mbuta and reveals that that name comes from a spiritual book ndombo olo  or something like that which his great grandmother was praying with and levieux who was her favorite grandchildren was often learning a lot of things
he explained that both the animation and the dance started from him and that the kibinda nkoy dance was the roots of ndombolo dance he inspired himself from judo guys and their moves then the monkey dance and (the variations then developped in wenge by bouro seguin and late souzy versace) and that he had originally given it to radja kula and station japan in order to change their style of dance which was rarely about waist but more often about physical choreography but japonais took it to wenge musica,same with yungana which were levieux animation and dance only
levieux was also somono's friend and main provider  throughout his career and he said his uncle levieux is very demanding he can come to a group when called upon and literally decide who will play what and which atalaku should do it
he only rates atalakus who can match ngongi rhythm well which are guys like genta who was trained  in the junior section bana odeon and arumbaya groups which raised late nono,bebe atalaku ditutala djouna ekokota  so he has it natural
and he gives example of some atalakus who had to adapt to be able to do levieux' work,giving the examples of bill who had to be coached by thierry synthé to make that crucial transformation which turned him into the guy who traumatized for ever a lot of congolese people,or the example of brigade and kerozene  who he had actually did not want koffi to use for his creations and he did not rate them until brigade learned the right ngongi tempo and became who he became later on to beautifully reproduce his work
he also gave example of bercy who had to learne it which shaped his most recent form of animation which he started from fleche ingeta(you'll notice that ngongi is HEAVY on that generique probably the loudest ngongi has ever been on a maison mere generique)
he then emphasized on levieux collaboration with jb  talking about the fact that him and jb had fallen out at some point because he was not received the money he had to receive for his work on th and internet  and when werra did tindika lokito jb was on immense pressure to counter from the primus admins and what he was coming with from his atalakus was not convincing the primus guys  so jb contacted levieux via his elder brother mosaka  but levieux being a strong character refused and what ended up convincing him is mosaka  telling their mother who was in terminal stage of illness that his job was in jeopardy if levieux who had the responsability of paying insulin for her every month refused to come and do the job  and she convinced him
so he came with pelisa nguasuma from start to finish  and kindingu fimbu ya mukolo is not a stick or a belt or whatever like that like the name suggests as to say its a big slap towards the rivals,but rather it was some sort of weed he had smoked that day to attract inspiration which he named like that and he primus guys were so happy that they wanted to reward him with a house knowing that they had then got what would counter tindika lokito but he never received that house papers from jb(jb used it to try to get madam back home according to the inside story i had heard years ago)
and he was upset with jb again,because he had grown up and the gifts were not enough anymore as he had grown then when werra switched to primus he did changement de frequence generique and even though it was not that much of a success compared to tindika lokito and they style were not liking the generique proposed by genta which was of genta's old identity of faster more impro-oriented animation so the primus guys asked if they could call that guy who came with pelisa nguasuma and jb then had to convince levieux again who had that roots zaiko like style of generique which primus guys like and he came and literally created the generique in front of them and then  went to studio with them to decided who would do what and how to make it have the result he wanted
and his most recent collaboration with jb is zebuka
he wonders why his friend heritier does not work with levieux to sort forever his generiques issues and that ambulance would fit the ngongi style that levieux builds his generiques on since ambulance was trained by djouna mumbafu  and also why fally does not use levieux for his generiques because he already copied levieux on his style of dancing,and that a lot of people dont know it but fally is carbon copy of levieux' dancing and that fally is from kintambo with one house between theirs and the one of fally's mother its later that he moved to bandal and heritier is the reverse born and raised in bandal next to his friend cambodge then came to kintambo
levieux also worked with ferre on his primus generiques and he witness himself how ferre took time to master levieux' choreography of the second one with that siki koko dance and its probably in the collaboration with ferre that he received the better reward among leaders(apart from the fact genta bought him a car)

Can you say in what part Ingeta got the Ngongui? Cause except for Block Cadenas, I hardly hear Ngongui on Fleche Ingeta Generique number one

several times its just sometimes muffled because of kakol and lofombo's combo but if you really put deep listen from ya ngiama azo pesa bango til parts like ali mbonda akobeta ndenge nini and so on you'll notice mbonda and ngongui going together
that ngongi is played by ya sinya one of the og atalakus who gave some kikongo animation to celeo including that kiyelele ngongi one
listen for example when bercy comes back at 8th minute ngongi is now much more audible