Viva la Musica. This new band's name was suggested to him in 1974, when he attended a concert in Kinshasa that featured the New York-based Latinos, Fania All-Stars. During the concert, one of the singers would shout to the audience "Viva La Musica!" to an enthusiastic response. Wemba's vision was to structure Viva la Musica around young, talented but largely unknown artists, including the singers Prince Espérant, Jadot "le Cambodgien" Sombele, Debaba el Shabab, Pepe Bipoli and Petit Aziza, and various guitarists such as Rigo Star, Syriana, and Bongo Wende. The new group included the traditional instrument lokole. There was also an associated dance, the mukonyonyo, as well as a fashion style. The band achieved immediate success and, during their first year performing together, the Kinshasa newspaper Elima named the band "best orchestra" and their single, "Mère Supérieure," best song. During the following three years, Viva la Musica built on these initial accolades with more hit songs including "Moku Nyon Nyon", "Nyekesse Migue'l", and "Cou Cou Dindon". As time went by, it was revealed that Antoine Agbepa was the unknown writer of many of these songs, when Papa Wemba said, "Ooh! l'homme idée" (Oh! the idea-man!), thereby on-the-spot renaming the impressive young singer-songwriter Koffi Olomide – and the name stuck. After his success already with three influential groups, in 1977 Papa Wemba established a kind of commune for musicians. To accomplish this, he used his family home (on Kanda-Kanda street) as a fashionable gathering place for Matonge youths. He named it "Village Molokai" and declared himself to be its tribal chief (chef coutumier). Move to Paris Beginning in the late 1970s and early 1980s, Wemba (both by himself and with Viva la Musica) started traveling to Paris, believing there was a potentially wider audience for the music he had been helping to create during the preceding decade. As Wemba biographer Craig Harris put it: By the late 1980s and early 1990s, Wemba's style was more readily identifiable even as it had become an amalgamation of rumba, soukous and ndombolo, Latin and rock, melded to a European-oriented pop style. But still wanting to expand their musical horizons, and move in new musical directions, Viva la Musica took on a dual-identity. Wemba now maintained one group in Kinshasa (called at times "Nouvelle Ecriture", "Nouvel Ecrita" and then again "Viva la Musica") and another one in Paris ("Nouvelle Generation," "La Cour des Grands"