Papa Wemba really loved traditional music

From the crazy succes that Wemba had from 1977 to 1982, I think that what distinguished Papa Wemba from his competitors Evoloko and Nyoka Longo was adopting that "traditional chieftaincy" since the birth of Viva la Musica and later also the popularizing "La Sape-movement" when coming back from the Europe tour of 1980

One thing I wanted to point out that Kester Emeneya was clearly Papa Wemba's favorite. If you hear the song Mukaji Wanyi, it was largely between Kester Emeneya and Papa Wemba.

Yes Kester Emeneya was Papa Wemba's favorite. When Emeneya left and started to do multiple interviews to attack Papa Wemba, about Wemba not paying them, etc. Wemba said to Lidjo, Maray, Luciana and Reddy, that he would never give an artist the opportunity to grow as Emeneya. Ironically, when settling Viva la Musica in France, he hadn't any choice then giving all his artists artistic freedom. But on the end, none of them reached the level of Emeneya in their solo-career, after leaving Viva la Musica. Viva la Musica "Made in France" aka Cour des Grands (1987-2001), had even more freedom than the generation of Emeneya, Dindo and co, who used to record many of their Viva-songs secretly, to later being gaslighted by Viva-staffmembers, who were not happy that their songs were succesfull and fearing that could leave Viva la Musica one day to create another band, forgetting that their songs were also contributing to Papa Wemba's succes.



About the song Mukaji Wanji in this concert, it's actually rhythm-guitarist Ping Pong Tshimpanga backing Papa Wemba as singer.  You can see him playing rhythm and singing on the same time in the back from 11:45. Emeneya came later in with the rest Bipoli, Djanana, Dindo Yogo and Debaba to sing the song Amisi Clara. Ping Pong was the guy who gave the traditional song Mukaji Wanji to him and years later in 1986 the traditional luba song Bakwetu. But for whatever reason, Wemba just credited himself on both song as songwriter-composer.

Yes Kester Emeneya was Papa Wemba's favorite. When Emeneya left and started to do multiple interviews to attack Papa Wemba, about Wemba not paying them, etc. Wemba said to Lidjo, Maray, Luciana and Reddy, that he would never give an artist the opportunity to grow as Emeneya. Ironically, when settling Viva la Musica in France, he hadn't any choice then giving all his artists artistic freedom. But on the end, none of them reached the level of Emeneya in their solo-career, after leaving Viva la Musica. Viva la Musica "Made in France" aka Cour des Grands (1987-2001), had even more freedom than the generation of Emeneya, Dindo and co, who used to record many of their Viva-songs secretly, to later being gaslighted by Viva-staffmembers, who were not happy that their songs were succesfull and fearing that could leave Viva la Musica one day to create another band, forgetting that their songs were also contributing to Papa Wemba's succes.



About the song Mukaji Wanji in this concert, it's actually rhythm-guitarist Ping Pong Tshimpanga backing Papa Wemba as singer.  You can see him playing rhythm and singing on the same time in the back from 11:45. Emeneya came later in with the rest Bipoli, Djanana, Dindo Yogo and Debaba to sing the song Amisi Clara. Ping Pong was the guy who gave the traditional song Mukaji Wanji to him and years later in 1986 the traditional luba song Bakwetu. But for whatever reason, Wemba just credited himself on both song as songwriter-composer.

What made Kester go the distance in his solo career that the other protege of Wemba never could?

Emeneya was already a rolemodel for many youngster when being a bandmember of Viva la Musica, he also had a charisma that nobody else after his departure had in Viva la Musica. From 1980 til 1982, he was often linked to departures. Emeneya left Viva la Musica on the right moment. Reddy Amisi who was also a rolemodel for many youngsters from 1990, left Viva la Musica when his hype was already over for years.



Another thing that Emeneya enjoyed large support from the press and also elders, who wanted to see an end of Papa Wemba's hegemony (1977-1982). Papa Wemba's mistake was to reply to Emeneya's interviews, by replying to it, the press started to make from it a Wemba vs Emeneya war, while they aren't the same generation. It's like Werrason beefing with Ferre and it at some point becoming a new JB VS Werra. Those many Viva vs Victoria confrontations would boost it even more. The event of Wemba vs Emeneya at Lubumbashi where they were backed by the university of Lubumbashi, was the highest point of the rivalerly.



The succes of Emeneya was that huge, that when he would walk through the streets, the streets would be full with people. Which wasn't the case with other artists of his generation (no disrespect). Viva la Musica tried to make from Lidjo Kwempa, Emeneya's rival with the myth that he wrote all songs Emeneya released in Viva la Musica, but it wasn't working. There rumors that say, that it was one of the reason why they adviced Emeneya to also get his brother Joly Mubiala into Victoria Eleison. In the fear that Wemba could make from it a rivalery of him between his brother.  Lidjo had with Maray, Viva la Musica on his wings for a moment, but it was not on the same level like Emeneya. Also Viva la Musica's staff started to put 12 on him at some point and him later being left behind, when Viva settled in Europe in 1987. After that you had Reddy and Stino's ascension to fame, who were first on the background and people saying that Lidjo was finished.



Maray Maray had succes with his band Rumba Ray in the mid/late 1980s, but it was not at the same level like Victoria Eleison. The birth of Nouvelle Generation in 1992 had a huge buzz, but none of the singers had something like Kester Emeneya. Also it was the cohesion that was making them and not the individuality. The band had a huge succes, but sadly disbanded within 2 years.




About Viva la Musica "Cour des Grands". The succes of Nouvelle Ecriture killed their career. It was the right moment to leave for many of them, to get a chance to make it. But many made the mistake to stay. Stino left with guys like Gloria and co. But they all returned once the Zenith-project of 1999 came. When Viva la Musica "Cour des Grands" wasn't that active anymore, they were all finished before starting their solo-career