Renowned Music Producer Exposes Financial Crisis: No Money to Steal in Urban Grooves Genre!
In a candid interview, Clive “Mono” Mukundu, a highly respected music producer and arts critic, has brought to light a startling revelation regarding the urban grooves movement. Mukundu argues that the genre’s financial struggles were so severe that there was simply no money to be stolen. His statement challenges the accusations made against individuals like Tinashe Mutarisi, who have been blamed for money theft within the genre.
Mukundu asserts that urban grooves, being a foreign genre, faced insurmountable challenges in making an impact in Zimbabwe. He believes that the genre’s inability to resonate with the local music scene hindered its success.
“Urban grooves was too foreign to make it in Zimbabwe because it was impossible to take a foreign genre and localize it,” Mukundu told H-Metro.
The failure to successfully localize the music resulted in its limited export potential, depriving artists of significant income.
“You can’t make money with music that cannot be exported since we don’t have money here in Zimbabwe to buy it,” Mukundu added.
Defending Tinashe Mutarisi: No Money to Steal
Addressing the allegations of money theft within the urban grooves genre, Mukundu vehemently defends figures like Tinashe Mutarisi. He firmly states, “Even if Tinashe Mutarisi wanted to steal the money, there was no money to steal in the first place.” Mukundu further highlights that Mutarisi actually invested more money into the genre than he received in return. These revelations challenge the common misconceptions surrounding financial misconduct and shed light on the lack of funds within the genre.
“In fact, Tinashe Mutarisi put in more money than what he got in return.
“This is the case with Delani Makhalima, who wanted to experiment with the new sound and urban music culture.”
The Blame Game and Financial Challenges in the Music Industry
Mukundu believes that the challenging nature of the music industry in Zimbabwe often leads struggling artists to play the blame game instead of supporting one another. He expresses his concern, stating, “Vanhu vane nzara are not nice to each other.” He deems this behavior unacceptable, especially considering that most artists lack alternative sources of income. Mukundu acknowledges that making substantial money in the Zimbabwean music industry is a considerable challenge, often requiring significant time and effort.
As urban grooves artists gather to reminisce about the genre’s heyday, Mukundu’s words serve as a reality check. With his insightful commentary on the financial crisis within the genre, it becomes evident that blaming individuals like Tinashe Mutarisi for money theft is baseless. The focus should instead be on understanding the financial constraints faced by artists in a challenging industry.