In summary: He is asked the now all too familiar question of why no former BCBG member has had a succesful career as compared to WMMM in answer he says the problem is that at BCBG everything starts and ends with the leader, so if the leader relaxes everyone relaxes while in Maison Mere its not like that, even when the Leader is in relax mode them musicians would be seriously working. He goes on to say the secret to remaining relevant is being organised the way Ferre, Fally and Himself are organised musically and also outside music.
He goes on to appreciate the young animators coming through nowadays particularly the one who did animation in Deplick's song Kabongo and Cedar Capo. Further regrets that the same guy is no longer with Deplick's orchestra. He is asked the secret to staying long in one group for an atalaku, he says the problem with atalakus nowadays is that they are in a hurry to reach Bill's level but what they need to ask themselves is whether their leader has the capacity to take them to that level in a short period of time.
Naty Lokole tells him that ever since He left Maison Mere the level of animation has dropped and if he would consider going back to help out. In answer he says he cant go back in Maison Mere because now he has his own group of about 30 artists. But that if invited by Werra to do something a feature or so, he wouldnt hesitate becoz Werra is his Old Man.
He goes on to praise atalakus who came before him such as Vieux Nono, Djuna Mumbafu, Roberto Ekokota, Tutu Callugi. He is also asked about Celio Scram and his contribution to memorable cries, he says Celio has some good cries as well. He is asked about which cries from QL he appreciates in answer he says mostly in QL they have a habit of stealing cries and rush off to the studio to record
, they dont originate. He says they copied the "ndombolo crie". But he goes on to appreciate animators such as Somono Dolce and Mboshi.
