Modogo Gianfranco Ferre used to be a big sapeur in Paris in the 80s with guys like Anicet Pedro, etc. Then he wanted like Stervos to record a song. So he worked on Le Jour J de l'Histoire Romaine with King Kester Emeneya in 1986/87. Jour J de l'Histoire Romain is a song about an arrested guy who had to be judged. But King Kester Emeneya hadn't time to record, because he had to return to Kinshasa and promised to record it with Victoria Eleison if they would return to Europe. But it wouldn't happen, because Victoria Eleison returned in 1990 (Emeneya himself came in 1988 to participate to Abeti's Zenith). Then when Viva La Musica settled in 1987, he asked to Papa Wemba if wanted to record an album with him. Papa Wemba accepted. With Jour J de l'Histoire being released in 1988 produced by Jules Shortille and distributed by Sonodisc. Then albums like Place Vendome, Statue de la Liberte & Victime de la Mode followed. Then people asked to start his own band, because in their opinion Viva La Musica wasn't performing his songs often. So thats why in 1994 he started his own band Place Vendome with likes of JF Ifonge, Cesar Loboko, etc.
Mogodo Gianfranco Ferre's influence in the music scene was very big. Because he and Thythy Le Vallois were giving bandleaders expensive clothes for big events in Paris, Brussels and London and giving uniforms to bandmembers. For example those t-shirts Bill, Celeo, Flamme and co wore on the Solola Bien-album cover were those of Thythy Le Vallois. Then after 2001/2002 his influence went down like many other peoples who heard in albums in the early 2000s and 80s & 90s but for respect I wont say what the reason is.
About King Kester, they come both from the Bandundu-province. Kester gave him and other sapeurs and hustlers of that time alot of shout-outs because they gave him alot of clothes which made him happy. After 1990/91 he wasn't getting alot of shout-outs because he was in the Viva La Musica-camp. With Kester then being close to guys like Wabanako (of London), Mifune Kiabelva, etc.
