I was looking a both physical cd’s and I saw these two cd’s were released weeks apart if not a month. I was wondering if anyone has knowledge of what this time period was like for Congolese music between these two at the time.. I feel overall Koffi won the battle. I remember watched the vhs tapes then the full clips. That team Koffi had was special

Man that was an era. Constant powerful releases with sebenes. Never thought we would go months without a release.

In long-term Koffi Olomide won the battle. But in short-term it is Academia who won it. There’s no debate, those who say it differently didn’t witness the era. Why I am saying long term ? Because until this day many people listen to Sans Anesthesie, Non Assistance, Tchernobyl, Boda Bodack, etc. and some occassion played in birthday-parties, weddings, etc. But it's rare to see someone talk about the songs of Sanction, unless it's someone of that era to remind people about it.


For Koffi Olomide it was a difficult period, because at that time some of his musicians left to form Academia after the success of Olympia and Zenith. At the same time he was beefing with Papa Wemba, who fired multiple attacks on different songs in the Fula-Ngenge album and a diss-track called O’koningana. Koffi Olomide was often mocking by shegues when moving with his Mercedes, by calling him “mutu nguba”. Koffi was also in war with Zaiko, who mocked him for failing at Stade des Martyrs (during the famous interview with Zacharie Bababaswe) and dissed him very hard with the song Proverbe 22:1 (as reaction to Rond Point), by calling him “antoine missisa”. Next to it, he had a big challenge which was the Bercy-show. There were some that said that he was crazy and said that it was better for him to make from the show, a kind of festival, the way Abeti Masikini did when performing at Zenith de Paris in 1988, by inviting Pepe Kalle, King Kester Emeneya and Aurlus Mabele. To become close to the urban and French public, Koffi recorded African Kings with rapper Passi, who the second most popular rapper in France after Doc Gyneco and head of the Congo-Brazza collectif Bisso na Bisso. He also recorded Si Si Si with Goumba Gawlo, who had hit song in France called Pata Pata in 1998. He also decided to release the song Chocolat, who was meant for Loi and for a big part recorded in 1997 (with help from late Rigo Star and Lokua Kanza).










Academia had a lot of support in Europe from the young generation, those who didn’t like Koffi and music-fans that felt sorry for them for the way they said that they weren’t well paid by Koffi Olomide for the Olympia and Zenith-show. In the time they came with the Sanction-period, like Zaiko in the late 1980s, the interest of capitalizing on Congolese music came back because of the success of Ndombolo and Congolese artists started to perform at the mythic halls of Paris. They had different offers (Jhymmy Mukelenge, JPS Production, etc.). But they ended up by singing a 3-album deal with Secteur A, which was the biggest rap-label of France at that time. The head of their label (Kenzy), wanted them to concur the French market. But the guys of Academia had a different vision, they wanted to prove the public in Kinshasa a point, that they were also part of the big ones next to Clan Wenge, Viva la Musica, etc.



When Academia released Sanction in October 1999, they immediately took the Congolese public by storm. People were impressed by energy, power and their artistic maturity.

Immediately after it, they went to Kinshasa in November 1999, them receiving a triumphal welcome and in their first week performing in a sold-out Cinemax, the following week they gave a concert at l’Esplanade de Palais du Peuple, which was attended by more than 65,000 people. The guys of Academia were surprised because normally it’s only bands like Wenge Maison Mere, Wenge BCBG and Wenge El Paris that could attract such crowd. Fans then saying that they had to perform at Stade des Martyrs. Academia also did a fara-fara in Brazzaville against Werrason, who was performing at Stade Massamba-Debat (but him not performing anymore because of rain) and Academia at Palais des Congres, who was very crowded. The fara-fara made Academia even gain more respect. In meantime Sanction got officially released on 15 November in France for big stores, Kenzy came with the strategy to release Sanction in first in the ghetto (the shops in chateau rouge, matonge, etc. and Africa). After their success in Kinshasa, problems already started about ego and leadership-issues, which would become only worser with the time.

Koffi Olomide released at his turn towards the end of November 1999 his album Attentat. However, there was a problem. Before the release of Attentat there was a discussion between Koffi and his label Sono. Sono was already against the use of shout-outs, but ended up by allowing it. But they didn’t want him to release long tracks, they wanted him to have the tracks be max. 5:35, in order to have no difficulties to promote it on the French radio’s. Koffi Olomide was strongly against it, because in his opinion the songs would lose their originality and also added that there were already Chocolat, Si-Si-Si and African Kings who were made for that market. Sono then agreed and said that they would release two versions of Attentat at the same time. One version called “Version Radio” which had the short versions of his tracks and another one called “l’Integrale” which had the full versions of the songs. Sono ended up by only releasing “Radio Version” and the album was heavily criticized by people and the press. People saying that Koffi was finished, that his new group (Fally, Soleil, CNN, etc.) didn’t convince and that Dolce, Mboshi, Bouro, Lebou and co should return. Others saying that Koffi would end up by failing. Some fans even saying that Attentat was Koffi’s worst album in his career. Koffi Olomide felt betrayed and attacked his label in different interviews. Not long after it, “l’Integrale” got released, but it had in the beginning difficulties to change people mind. Koffi Olomide would proudly say on tv, that he was the first artist to release a double-cd album, forgetting that King Kester Emeneya already did it with Mboka-Mboka. It would give his friend Emeneya the occasion to attack him in different interviews about. Papa Wemba, Zaiko and Academia-fans would claim that Koffi was hiding behind “Version Radio” for failing with Attentat and for 2 years long people would joke if some failed with his album that it was “Version Radio”.  Just after releasing Attenat did a show at Intercontinental to present the album, also toured around some African countries (I think Togo and Cameroun) and then started preparing the Bercy-show. In January 2000, the first volume of Attentat-clips got released on the market. It was only after the Bercy-show that people slowly started to accept the Attentat-album (songs like Sans Anetshesie and Non Assistance becoming big hits). But for many people it is still seen as a flop like Droit de Veto, others see it as a succes. But Koffi's songs are like wine and always get appreciated more by time. What people mostly paid attention to when Attenat came out is Koffi’s responses to Papa Wemba, which he did in different songs. Next to it, he made the diss-tracks Nul n’est Parfait and Malanda Ngombe. In Malanda-Ngombe he called Papa Wemba “Shamazulu” and letting Babia sing in "Nul n'est Parfait" that Wemba forgot how many children he had.




After Bercy, Koffi and Quartier Latin were more focused on celebrating Bercy, hyping their upcoming event at Parc des Princes that didn’t come and the recordings of Force de Frappe instead of keeping talking about Attentat. At the same time there speculations about Koffi joining another label since that his contract with Sono came to an end, but no label could offer the same money that Sono used to give him, which made Koffi extend his contract with Sono which became Next Music. Just before Summer 2000, the second part of Attentat-clip got released. What attired the most attention to people, was Koffi's interview in the bonus where he reacted to Nyoka Longo's words about claiming that Pepe Kalle died while still being mad against Koffi, but Koffi saying that Pepe Kalle was the first to call after doing his Olympia-show (without mentioning Nyoka Longo words) and also the way Depitcho got mocked and attacked by QL-members (he just left after that time to form AGB Quartier Latin with JF Ifonge, them attacking Koffi strongly with Suzuki in their first VHS).









Academia on their side, after celebrating their 1st anniversary at LSC on February 5th and a show at La Madeleine in Brussels, they went back to Kinshasa in April 2000 for a series of concerts. The clips of Sanction also came out, which boosted the album a bit more, after that Solola Bien stole the spotlight. They also went to Pointe Noire in Congo-Brazzaville and Abidjan in Ivory Coast, being the first Congolese band to perform at the then newly built Palais de la Culture (it was originally meant for them to celebrate 2000 there, but the event got postponed because of a Coup taking place in Ivory Coast. They started preparing Viagra and already announced it for Octobre 2000 (it would get delayed to 2001). When they came back to Europe, Suzuki announced that he joined Academia.

In long-term Koffi Olomide won the battle. But in short-term it is Academia who won it. There’s no debate, those who say it differently didn’t witness the era. Why I am saying long term ? Because until this day many people listen to Sans Anesthesie, Non Assistance, Tchernobyl, Boda Bodack, etc. and some occassion played in birthday-parties, weddings, etc. But it's rare to see someone talk about the songs of Sanction, unless it's someone of that era to remind people about it.


For Koffi Olomide it was a difficult period, because at that time some of his musicians left to form Academia after the success of Olympia and Zenith. At the same time he was beefing with Papa Wemba, who fired multiple attacks on different songs in the Fula-Ngenge album and a diss-track called O’koningana. Koffi Olomide was often mocking by shegues when moving with his Mercedes, by calling him “mutu nguba”. Koffi was also in war with Zaiko, who mocked him for failing at Stade des Martyrs (during the famous interview with Zacharie Bababaswe) and dissed him very hard with the song Proverbe 22:1 (as reaction to Rond Point), by calling him “antoine missisa”. Next to it, he had a big challenge which was the Bercy-show. There were some that said that he was crazy and said that it was better for him to make from the show, a kind of festival, the way Abeti Masikini did when performing at Zenith de Paris in 1988, by inviting Pepe Kalle, King Kester Emeneya and Aurlus Mabele. To become close to the urban and French public, Koffi recorded African Kings with rapper Passi, who the second most popular rapper in France after Doc Gyneco and head of the Congo-Brazza collectif Bisso na Bisso. He also recorded Si Si Si with Goumba Gawlo, who had hit song in France called Pata Pata in 1998. He also decided to release the song Chocolat, who was meant for Loi and for a big part recorded in 1997 (with help from late Rigo Star and Lokua Kanza).










Academia had a lot of support in Europe from the young generation, those who didn’t like Koffi and music-fans that felt sorry for them for the way they said that they weren’t well paid by Koffi Olomide for the Olympia and Zenith-show. In the time they came with the Sanction-period, like Zaiko in the late 1980s, the interest of capitalizing on Congolese music came back because of the success of Ndombolo and Congolese artists started to perform at the mythic halls of Paris. They had different offers (Jhymmy Mukelenge, JPS Production, etc.). But they ended up by singing a 3-album deal with Secteur A, which was the biggest rap-label of France at that time. The head of their label (Kenzy), wanted them to concur the French market. But the guys of Academia had a different vision, they wanted to prove the public in Kinshasa a point, that they were also part of the big ones next to Clan Wenge, Viva la Musica, etc.



When Academia released Sanction in October 1999, they immediately took the Congolese public by storm. People were impressed by energy, power and their artistic maturity.

Immediately after it, they went to Kinshasa in November 1999, them receiving a triumphal welcome and in their first week performing in a sold-out Cinemax, the following week they gave a concert at l’Esplanade de Palais du Peuple, which was attended by more than 65,000 people. The guys of Academia were surprised because normally it’s only bands like Wenge Maison Mere, Wenge BCBG and Wenge El Paris that could attract such crowd. Fans then saying that they had to perform at Stade des Martyrs. Academia also did a fara-fara in Brazzaville against Werrason, who was performing at Stade Massamba-Debat (but him not performing anymore because of rain) and Academia at Palais des Congres, who was very crowded. The fara-fara made Academia even gain more respect. In meantime Sanction got officially released on 15 November in France for big stores, Kenzy came with the strategy to release Sanction in first in the ghetto (the shops in chateau rouge, matonge, etc. and Africa). After their success in Kinshasa, problems already started about ego and leadership-issues, which would become only worser with the time.

Koffi Olomide released at his turn towards the end of November 1999 his album Attentat. However, there was a problem. Before the release of Attentat there was a discussion between Koffi and his label Sono. Sono was already against the use of shout-outs, but ended up by allowing it. But they didn’t want him to release long tracks, they wanted him to have the tracks be max. 5:35, in order to have no difficulties to promote it on the French radio’s. Koffi Olomide was strongly against it, because in his opinion the songs would lose their originality and also added that there were already Chocolat, Si-Si-Si and African Kings who were made for that market. Sono then agreed and said that they would release two versions of Attentat at the same time. One version called “Version Radio” which had the short versions of his tracks and another one called “l’Integrale” which had the full versions of the songs. Sono ended up by only releasing “Radio Version” and the album was heavily criticized by people and the press. People saying that Koffi was finished, that his new group (Fally, Soleil, CNN, etc.) didn’t convince and that Dolce, Mboshi, Bouro, Lebou and co should return. Others saying that Koffi would end up by failing. Some fans even saying that Attentat was Koffi’s worst album in his career. Koffi Olomide felt betrayed and attacked his label in different interviews. Not long after it, “l’Integrale” got released, but it had in the beginning difficulties to change people mind. Koffi Olomide would proudly say on tv, that he was the first artist to release a double-cd album, forgetting that King Kester Emeneya already did it with Mboka-Mboka. It would give his friend Emeneya the occasion to attack him in different interviews about. Papa Wemba, Zaiko and Academia-fans would claim that Koffi was hiding behind “Version Radio” for failing with Attentat and for 2 years long people would joke if some failed with his album that it was “Version Radio”.  Just after releasing Attenat did a show at Intercontinental to present the album, also toured around some African countries (I think Togo and Cameroun) and then started preparing the Bercy-show. In January 2000, the first volume of Attentat-clips got released on the market. It was only after the Bercy-show that people slowly started to accept the Attentat-album (songs like Sans Anetshesie and Non Assistance becoming big hits). But for many people it is still seen as a flop like Droit de Veto, others see it as a succes. But Koffi's songs are like wine and always get appreciated more by time. What people mostly paid attention to when Attenat came out is Koffi’s responses to Papa Wemba, which he did in different songs. Next to it, he made the diss-tracks Nul n’est Parfait and Malanda Ngombe. In Malanda-Ngombe he called Papa Wemba “Shamazulu” and letting Babia sing in "Nul n'est Parfait" that Wemba forgot how many children he had.




After Bercy, Koffi and Quartier Latin were more focused on celebrating Bercy, hyping their upcoming event at Parc des Princes that didn’t come and the recordings of Force de Frappe instead of keeping talking about Attentat. At the same time there speculations about Koffi joining another label since that his contract with Sono came to an end, but no label could offer the same money that Sono used to give him, which made Koffi extend his contract with Sono which became Next Music. Just before Summer 2000, the second part of Attentat-clip got released. What attired the most attention to people, was Koffi's interview in the bonus where he reacted to Nyoka Longo's words about claiming that Pepe Kalle died while still being mad against Koffi, but Koffi saying that Pepe Kalle was the first to call after doing his Olympia-show (without mentioning Nyoka Longo words) and also the way Depitcho got mocked and attacked by QL-members (he just left after that time to form AGB Quartier Latin with JF Ifonge, them attacking Koffi strongly with Suzuki in their first VHS).









Academia on their side, after celebrating their 1st anniversary at LSC on February 5th and a show at La Madeleine in Brussels, they went back to Kinshasa in April 2000 for a series of concerts. The clips of Sanction also came out, which boosted the album a bit more, after that Solola Bien stole the spotlight. They also went to Pointe Noire in Congo-Brazzaville and Abidjan in Ivory Coast, being the first Congolese band to perform at the then newly built Palais de la Culture (it was originally meant for them to celebrate 2000 there, but the event got postponed because of a Coup taking place in Ivory Coast. They started preparing Viagra and already announced it for Octobre 2000 (it would get delayed to 2001). When they came back to Europe, Suzuki announced that he joined Academia.

There's two mistakes Academia made that hurt them in the long-term: (a) Sam Tshintu kept attacking Koffi in interviews despite proving themselves with Sanction, the follow-up album should always be about confirmation.

If you noticed, Werrason and JB Mpiana traded shots with TH and Solola Bien. But after that, Werrason focused on a strong follow-up with Kibusia Mpimpa. I felt like the conversation in 2000 was too focused around polemic between Koffi and Academia but Koffi wasn't really replying in Force de Frappe and barely in Effrakata. Also by Sam dominating interviews constantly, he indirectly presented himself as the leader which planted the seeds of dissent among Lebou, Bouro, and Dolce

(b) Academia released Viagra at the worst time. I believe the album came after Kibusia but before Internet and the Bercy concert of Wenge BCBG. People also forget about Effrakata came out around the Christmas time of that same year, the competition was too intense for them. They should have stuck to their original release date but definitely no later than July/August of 2001. It takes about a month or so for a new release to gain momentum and I don't believe they had any big concerts after the release to kick off 2002...

The ngulu affaire pretty much sealed the deal and Sam decided to go solo.

Their upcoming album was about the confirmation, but next the war of Kibuisa Mpimpa vs Internet, Academia had the bad luck that key-members kept leaving, which also created some bad publicity and this time they stayed in Kinshasa, while with Sanction they went twice for a month to go back to Europe because of Paris being their headquarter. Modogo and Mboshi also left at some point (Mboshi even went back to Europe), but it were close people to them who solved the issues around the guys.

Attacks between JB Mpiana and Werrason kept taking place until the Double Zenith-era through interviews and huge events, when the BCBG-camp became a bit quite and them more attacking Koffi and Quartier Latin. On Kibuisa Mpimpa itself Werrason made fun of JB Mpiana in Obiang and Bill attacked BCBG/JB through many cries. BCBG returned to attack Maison Mere a bit in 2003 through comedy, but was not really that serious like in 1999, 2000 and 2001

Koffi didn’t really attack Academia in Attenat, he only said in the beginning ¨tokanisi bazalaki préssé, nzoka baza na arret oyo elandi” and “ba’ kweya, ba mpakata mbangu”. It was more Academia who were focused on attacking Koffi. They also didn’t release an album, so there was no need to attack them. Koffi only said on Dulcinée “toyebisaki bango ba’ kweya, sima ba mpalangani tein, sima ba telegani te”. He was probably aware that there were many problems in the band and some almost being ready to leave, when recording Force de Frappe. Koffi ended up by being right anyways, because just before returning back to Africa after the Europe-tour, Bouro Mpela returned. However, Koffi prepared a diss-track for them, that he wanted to release on Effrakata (which was first called Panique Generale). Extracts being sung in the cassettes “Destination Parc des Princes”, “Coulisse de la Grande Ecole” and “Quartier Latin 14ème Anniversaire”. Fally and co singing in the chorus that Koffi made them (Academia) known, but that they forget and them being ungrateful, etc. The crazy thing is that the same song was released as “Osali Nga Mabe” by former QL-member Eric Lokombe, who left them during the preparations of Attenat to join Anti Choc, on the album Jeu Muke in 2000. This made the song being reworked as a normal song and only a small part being used. The song being released as “Bilan du Travail”. For many Bouro’s return towards Quartier Latin, was already seen as Academia’s end. On Effrakata there was no attack against Academia. During that time Academia was already seen as basically death, despite many attacks against Koffi in the media.





It was normal to see Sam Tshintu the most to attack Koffi, because he was already the leader of Academia from day 1, Bouro already left, Modogo doesn’t really talk much and the guys like Tonton Lay, Musika-sika, Eric Menthe and co were new. But the way Sam kept attacking Koffi, made him with time more look as a hater, rude-guy, since Quartier Latin never really responded to them on tv. In meantime Koffi sending people to lure members to Quartier Latin with money and insult Sam Tshintu. But nobody accepting it, except Tonton Lay, who quickly returned when Sam Tshintu caught him somewhere in Paris. Mboshi even animating about it in Viagra by animating “Nga batindi nga bafinga Che-Guevara (Sam Tshintu) nga nabo” (They sended me to insult Che-Guevara, but I refused).


Just after Quartier Latin’s anniversary, different articles were written about possible returns of Lebou Kabuya, Mboshi, Modogo, Suzuki and Depitcho Savanet. But nobody of them ended up by returning. In the same articles it was said that Koffi wished them Academia and AGB good luck during the press-conference he made before the event at Grand Hotel de Kinshasa (former Intercontinental), but behind the camera saying “ba petit bako beta poto”.

In the year 2000, Koffi was not really focused on beefs. It were more the rivals that started to attack Koffi. Nouvelle Ecrita for example when they came for their Zenith/Olympia-tour, JB Mpiana’s spokemen Blaise Element in Kinshasa (when BCBG was in tour in Europe), which led to a confrontation between him and late Zobozi, both BCBG and Quartier Latin getting a 7 months ban, which got quickly lifted. The BCBG-camp behind camera’s attacking Koffi for listening TH in his car and that he has to respect JB despite his age and fans later on starting to do the same thing. I think that Badive said something similar about age in one of the LSC-videos towards the end, when talking about Koffi. Papa Wemba just made small attacks towards Emeneya and Koffi on the song Woman in the start and also reacted shortly on the song Malanda Ngombe, by using a bit the same lyrics and calling himself handsome and they were jealous of him. Wemba come with a proper response on Malanda Ngombe with the song Omesatone in Bakala dia Kuba. But back then the beef just got squashed when the album came out and people not really paid attention to it and the lyrics being a bit to complicated with much proverbes. Only a few years after his death, when the song became viral on social media.




 Just before that Nouvelle Ecriture returned to Kinshasa, they claimed that Bercy was nothing and not on their level, since that Wemba already performed there as 1st part in the 1990s for Peter Gabriel and that they would go to Madison Square Garden in 2001.  Koffi himself didn’t react on all this. He only reacted in an interview, which was in an interview with Lolo Milolo, which was because of  the way one of the fioti’s fioti’s who played his role (all dancers during Wemba’s Zenith were incarnation all big bandleaders of our music) and mentioned the name of his late brother Didi (saying that he was his brother). Koffi was not amused about it and said that Wemba should stop with that. But the press made it worse, by coming with titles making look like Koffi insulted Wemba.

Towards the end of the beef returned between Zaiko and Koffi, because of Zaiko-camp attacking Koffi on tv, when it was reported that he was about to recruit late Daniel 6000, who was Zaiko’s lead guitarist and Deo Brando, after that their dancer Nana Mulenga joined Quartier Latin. Both Nyoka Longo and Koffi being invited to “commission de censure” and the war quickly being ended. In the same time, Bendoson being mad for the way Koffi recruited his friends Ramazani and Christian na Nzenze into his band, leaving him alone with his band Nouvelle Ecriture de l’An 2000, who a good start in the beginning.


from 25:23 min

The only beef were Koffi really put energy on in 2000, was to react on Nyoka Longo’s interview of 1999, where he said that Koffi lied about Pepe Kalle being in good terms with him and that he died with having a grudge on him and sending the Quartier Latin-guys to react on Suzuki and AGB (Depitcho & JF Ifonge). Since that their video came on the wrong moment, people starting to have sympathy for them, while they Koffi put a pause on the Europe-tour and the negative news about Bercy (created by the camp that were against Koffi) while the official VHS wasn’t released yet and the story about late dancer Mboyo told by Suzuki scaring people. So he sended Champion, Mamale and co, to save their image.




But this all is off-topic.

Their upcoming album was about the confirmation, but next the war of Kibuisa Mpimpa vs Internet, Academia had the bad luck that key-members kept leaving, which also created some bad publicity and this time they stayed in Kinshasa, while with Sanction they went twice for a month to go back to Europe because of Paris being their headquarter. Modogo and Mboshi also left at some point (Mboshi even went back to Europe), but it were close people to them who solved the issues around the guys.

Attacks between JB Mpiana and Werrason kept taking place until the Double Zenith-era through interviews and huge events, when the BCBG-camp became a bit quite and them more attacking Koffi and Quartier Latin. On Kibuisa Mpimpa itself Werrason made fun of JB Mpiana in Obiang and Bill attacked BCBG/JB through many cries. BCBG returned to attack Maison Mere a bit in 2003 through comedy, but was not really that serious like in 1999, 2000 and 2001

Koffi didn’t really attack Academia in Attenat, he only said in the beginning ¨tokanisi bazalaki préssé, nzoka baza na arret oyo elandi” and “ba’ kweya, ba mpakata mbangu”. It was more Academia who were focused on attacking Koffi. They also didn’t release an album, so there was no need to attack them. Koffi only said on Dulcinée “toyebisaki bango ba’ kweya, sima ba mpalangani tein, sima ba telegani te”. He was probably aware that there were many problems in the band and some almost being ready to leave, when recording Force de Frappe. Koffi ended up by being right anyways, because just before returning back to Africa after the Europe-tour, Bouro Mpela returned. However, Koffi prepared a diss-track for them, that he wanted to release on Effrakata (which was first called Panique Generale). Extracts being sung in the cassettes “Destination Parc des Princes”, “Coulisse de la Grande Ecole” and “Quartier Latin 14ème Anniversaire”. Fally and co singing in the chorus that Koffi made them (Academia) known, but that they forget and them being ungrateful, etc. The crazy thing is that the same song was released as “Osali Nga Mabe” by former QL-member Eric Lokombe, who left them during the preparations of Attenat to join Anti Choc, on the album Jeu Muke in 2000. This made the song being reworked as a normal song and only a small part being used. The song being released as “Bilan du Travail”. For many Bouro’s return towards Quartier Latin, was already seen as Academia’s end. On Effrakata there was no attack against Academia. During that time Academia was already seen as basically death, despite many attacks against Koffi in the media.





It was normal to see Sam Tshintu the most to attack Koffi, because he was already the leader of Academia from day 1, Bouro already left, Modogo doesn’t really talk much and the guys like Tonton Lay, Musika-sika, Eric Menthe and co were new. But the way Sam kept attacking Koffi, made him with time more look as a hater, rude-guy, since Quartier Latin never really responded to them on tv. In meantime Koffi sending people to lure members to Quartier Latin with money and insult Sam Tshintu. But nobody accepting it, except Tonton Lay, who quickly returned when Sam Tshintu caught him somewhere in Paris. Mboshi even animating about it in Viagra by animating “Nga batindi nga bafinga Che-Guevara (Sam Tshintu) nga nabo” (They sended me to insult Che-Guevara, but I refused).


Just after Quartier Latin’s anniversary, different articles were written about possible returns of Lebou Kabuya, Mboshi, Modogo, Suzuki and Depitcho Savanet. But nobody of them ended up by returning. In the same articles it was said that Koffi wished them Academia and AGB good luck during the press-conference he made before the event at Grand Hotel de Kinshasa (former Intercontinental), but behind the camera saying “ba petit bako beta poto”.

In the year 2000, Koffi was not really focused on beefs. It were more the rivals that started to attack Koffi. Nouvelle Ecrita for example when they came for their Zenith/Olympia-tour, JB Mpiana’s spokemen Blaise Element in Kinshasa (when BCBG was in tour in Europe), which led to a confrontation between him and late Zobozi, both BCBG and Quartier Latin getting a 7 months ban, which got quickly lifted. The BCBG-camp behind camera’s attacking Koffi for listening TH in his car and that he has to respect JB despite his age and fans later on starting to do the same thing. I think that Badive said something similar about age in one of the LSC-videos towards the end, when talking about Koffi. Papa Wemba just made small attacks towards Emeneya and Koffi on the song Woman in the start and also reacted shortly on the song Malanda Ngombe, by using a bit the same lyrics and calling himself handsome and they were jealous of him. Wemba come with a proper response on Malanda Ngombe with the song Omesatone in Bakala dia Kuba. But back then the beef just got squashed when the album came out and people not really paid attention to it and the lyrics being a bit to complicated with much proverbes. Only a few years after his death, when the song became viral on social media.




 Just before that Nouvelle Ecriture returned to Kinshasa, they claimed that Bercy was nothing and not on their level, since that Wemba already performed there as 1st part in the 1990s for Peter Gabriel and that they would go to Madison Square Garden in 2001.  Koffi himself didn’t react on all this. He only reacted in an interview, which was in an interview with Lolo Milolo, which was because of  the way one of the fioti’s fioti’s who played his role (all dancers during Wemba’s Zenith were incarnation all big bandleaders of our music) and mentioned the name of his late brother Didi (saying that he was his brother). Koffi was not amused about it and said that Wemba should stop with that. But the press made it worse, by coming with titles making look like Koffi insulted Wemba.

Towards the end of the beef returned between Zaiko and Koffi, because of Zaiko-camp attacking Koffi on tv, when it was reported that he was about to recruit late Daniel 6000, who was Zaiko’s lead guitarist and Deo Brando, after that their dancer Nana Mulenga joined Quartier Latin. Both Nyoka Longo and Koffi being invited to “commission de censure” and the war quickly being ended. In the same time, Bendoson being mad for the way Koffi recruited his friends Ramazani and Christian na Nzenze into his band, leaving him alone with his band Nouvelle Ecriture de l’An 2000, who a good start in the beginning.


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The only beef were Koffi really put energy on in 2000, was to react on Nyoka Longo’s interview of 1999, where he said that Koffi lied about Pepe Kalle being in good terms with him and that he died with having a grudge on him and sending the Quartier Latin-guys to react on Suzuki and AGB (Depitcho & JF Ifonge). Since that their video came on the wrong moment, people starting to have sympathy for them, while they Koffi put a pause on the Europe-tour and the negative news about Bercy (created by the camp that were against Koffi) while the official VHS wasn’t released yet and the story about late dancer Mboyo told by Suzuki scaring people. So he sended Champion, Mamale and co, to save their image.




But this all is off-topic.

What was the issue between Pepe Kalle and Koffi? Is it music disagreement or personal like women (King Kester)

Going back to Academia, why did the group not want Sam as the leader? He was the leader in Flash Musica, he was very much in front of things when they left Quartier Latin, because Lebou and the others aren't as charismatic as Sam for leadership

I think that it's better to create a new create about it, because this is about Sanction vs Attenat.

But to answer your questions. The Academia guys accepted Sam as their leader from day 1. Them also saying it openly in interviews, Sam is the president and Somono the founder. But they didn't want it be like Koffi & Quartier Latin, Papa Wemba & Viva la Musica, etc. They wanted to all being equal like how the admins of Wenge Musica 4x4 were despite JB having the label of president. Somono, Pathy and co weren't liking the way Sam Tshintu started to take decision at some point without consulting them. But most of them aware afraid to confront him openly sometimes. Bouro explained when he left that when they started to prepare Viagra in Kinshasa, that Sam came with a 3th song, while it was said that each instrumentalist and singer would put 2 songs, not more. 

A thing that people often not notice when create a shoot-off band. It's always difficult for the co-founders/bandmembers to accept their friend as supreme leader, sign contracts as their head, etc. Because they were first all  on the same level when being lead by their former bandmember, although some having the labels of "chef d'orchestre", "chef de repetition", "chef de discipline" or "directeur artistique". A good example is how Victoria Eleison already split after 14 months, because of all co-founders having difficulties to accept how Verckys appointed Emeneya as president and how concertspromoters were writing on posters Emeneya de Victoria Eleison. Another example is Wenge BCBG, the way Alain Makaba and Blaise Bula weren't happy the way the band become that of JB Mpiana and concertpromoters starting to write JB Mpiana & Wenge BCBG. While they saw it as the continuation of Wenge Musica 4x4



So far a know there was no issue between Pepe Kalle and Koffi Olomide, them visiting each other occassionally at home or concerts, except the minor incident of Koffi jocking that he never saw a fat nindja (which was seen as rude  by people) on tv, referring to the Pesa Wax-video clip, where Pepe Kalle appeared as a nindja towards the end. It was Nyoka Longo who said in the interview with Alimia Mongala, as reaction, to Koffi's interview with late Depas Ngandu in Brussels just after Pepe Kalle's death (where Koffi praised Pepe Kalle, talking about their duo-album recorded in the 1980s that never came out, how he called him to congratulate for the Olympia-show, that Pepe Kalle's death was a big loss for our music, etc.), saying that Koffi is a liar about being in good terms with Pepe Kalle, that next about Zaiko getting difficulties to get visa's for the Schengen Area (after that Koffi said to consuls that they were Mobutists) also something similar to Pepe Kalle and that Pepe Kalle died with still having a grudge towards him, then also talking about the problems Koffi had with late Madiata and Franco

Ndeko Mfumu you should do a topic on the history of Academia or at least of the stuff you know, because nowadays the Academia guys rarely really talk about what happened in that group. Ado yuhe said he would invite Mboshi, Pathy Bass back to talk about Academia but it never happened, Lebou sadly passed away and before that moved to Canada where he kept a low profile. Only those that I would like to hear speak on it are Beniko, Suzuki, Tonton Lay, Musika sika (but he's more interested in talking about Maison mere and praising werra lol), Pitchou Concorde, and Eric Menthe.