IT is said that there is a thin line between love and hate and this may be so true, especially considering the recent developments in the music industry. Recently two prominent musicians in the country broke up with their managers in unclear circumstances. Sungura maestro, Alick Macheso split with his long time manager, William ‘Yellow’ Tsandukwa and Mukudzei Mukombe better known as Jah Prayzah followed suit by sacking his manager, Filda Muchabaiwa. Similar for both musicians is that the sacked managers began with the musicians from ground zero. For a solid 17 years, Tsakundwa was Macheso’s manager while Muchabaiwa has been managing the Uzumba-born Jah Prayzah for the past nine years. In spite of the numerous years spent together, what could have possibly gone wrong? What then contributed to these ‘divorces’? Who is to blame between the artiste and manager? In the case of Macheso and Jah Prayzah, allegations have pointed to the managers being involved in practices that hindered progress of the musicians’ careers. Apparently it is alleged that Macheso dismissed Tsandukwa because he was abusing funds despite the fact that since 1998, Tsandukwa has been running the show at Orchestra Mberikwazvo. Before his dismissal in an earlier interview with Patriot Arts, Tsandukwa had said he took Macheso as his friend and would help him in various errands apart from being his manager. Besides providing Macheso with a vehicle, he was also Baba Sharo’s driver. Tsandukwa was involved in transport logistics before taking care of other responsibilities. So what could have turned this relationship sour to the extent that Macheso recently barred Tsakundwa from all Orchestra Mberikwazvo shows? In fact it is alleged that Macheso actually refused to perform at a recent show in the capital protesting against Tsakundwa’s presence. It is said he only got on stage after ‘Yellow’ left. So sad for this 17-year-old marriage. Macheso and Tsandukwa were inseparable, but perhaps the root cause of this divorce is nothing else, but that so-called root of all evil, the love of money. Contacted for comment, Tsandukwa said his lawyer, one Mugiya was in charge of the issue, therefore he was not speaking to the media. As for Jah Prayzah’s Muchabaiwa, it is alleged that the ‘boss lady’ was presenting herself as a two-faced manager. It is alleged she was duping Jah Prayzah by giving away his work to other artistes. So the question is, was Muchabaiwa on a mission to destroy or promote Jah Prayzah in her nine-year reign as manager? Could she have momentarily ‘forgotten’ whom she was supposed to promote or there is also the issue of money? In a telephone interview, Muchabaiwa confirmed to Patriot Arts that she is no longer in the 3rd Generation camp. “Handichisiko uko and I do not have any comment towards that story,” she said. Jah Prayzah on the other hand said the issue was in the hands of his lawyer so he could not comment. With all this happening to both Macheso and Jah Prayzah’s careers what defines an artiste’s manager and what role does he or she play in the artiste’s career? A manager can be an individual or organisation that takes the responsibility of a professional career of a certain artiste. The existence of a manager in the career of an artiste can simply mean that he or she becomes responsible for the smooth running of the career of that artiste. Superstar Oliver Mtukudzi is one example of an artiste who realised the importance of managers. In fact his long time manager, Debbie Metcalfe is credited for the success of the brand Tuku music which started to be popular both locally and outside Zimbabwe. It is Metcalfe who is credited by many for Mtukudzi’s success both locally and internationally. She remained as Tuku’s manager until 2009, leaving Sam Mataure to take over the role that same year. Despite Metcalfe’s departure, Mtukudzi has remained in the forefront of his career in music. It is important to note that some musicians have thrived because of their managers, while others have gone down the drain because of greedy managers who aim to enrich themselves. This is why some artistes employ their relatives as their managers. For example, gospel diva Fungisai Zvakavapano-Mashavave once roped in her husband as her manager. Saul Musaka, better known as Soul Jah Love after splitting with former manager, Courage Zikhali, turned to his wife Bounty Lisa. He claimed Bounty Lisa was the only person who was capable of ‘managing’ him. After a while the two split, but news has it that the duo are back together again. Perhaps in order for the relationship between artistes and managers to thrive, respect, discipline, transparency, commitment and a shared vision, among other elements are imperative.