ENTERTAINMENT
Working with MisRed was a marvel: JP
Published
16 Feb 2019on
Jah Prayzah’s Kune Rima music video has gone viral and has more than 200 000 views trended this week alone. MisRed took up the task of being Jah Prayzah’s love interest.
Behind the scenes were people like Vusa Blaqs who directed and edited the music video, Thembani Mubochwa who did the wardrobe and styled the whole vintage feel with Tsungi Makwanya on makeup.
Thembani has been working with Jah Prayzah for the past three years, styling most of his red carpet and stage outfits.
The music video reminded Jah Prayzah fans of his 2013 Mwanasikana music video that also had a vintage look.
Jah Prayzah said: “Kune Rima video was produced to recreate what happened in the 1960s. We looked at pictures from that time and we came up with this theme.
“I can’t really say that I thought about it (concept) for a long time. It just came as an idea that ‘won’t it be interesting for us to come up with such a theme’.”
He said although the music video has some resemblance with Mwanasikana, this one has an uptown feel to it.
“Mwanasikana was set at a growth point in Zimbabwe. Although the dressing looks similar, with Kune Rima, we wanted to give it an uptown setting. I wanted the music video to resonate with my style with better camera work and production than Mwanasikana,” said Jah Prayzah.
During the run-up to the music video’s release, there were pictures that “leaked” of him and MisRed in a love clutch.
This did not go down well with the social media brigade who quickly made known their displeasure, speculating that the two were involved in an illicit affair. Some aired their concern for Jah Prayzah’s wife, but the musician said he was unperturbed by that entire melee.
“I was calm and relaxed. I knew that the allegations about the pictures weren’t true. It was just work. I even told my wife that there were pictures that would be “leaked”. She was ready and people actually sent her the pictures,” said Jah Prayzah.
He said working with MisRed was a marvel as she was comfortable with her role and knew what she was doing. Thembani, Jah Prayzah said was also a joy to work with.
On his part, stylist and designer Thembani said Jah Prayzah is a man who knew what he wanted in terms of style for the Kune Rima video, making his job easy.
“Working with Jah Prayzah is the easiest thing one can do. He knows what type of style he wants and with this music video, it wasn’t different. I was in charge of everything on set in terms of tailoring but he came up with the idea of what he wanted and I tailored his outfits,” said Thembani.
“We designed everything from scratch for both Jah Prayzah and MisRed’s outfits. We used local materials and the outfits were from my collection.”
The music video’s visuals were beautiful and drew a lot of attention and that can only be the works of a talented director and producer in the form of Vusa Blaqs. Vusa Blaqs, refusing to reveal the budget for the music video, said he was surprised by MisRed’s awareness and execution of her role in front of the camera.
“MisRed surprised me. She did a very great job in front of the camera. Every scene with her was done in one take. She followed my instructions to the letter and added some of her own ideas during the music video shoot,” said Blaqs.
He said what also helped was the onscreen chemistry between MisRed and Jah Prayzah, something he worked on way before the shoot.
“I had asked both of them to spend time together and be in each other’s space. And they did that; MisRed would come to the studios and spend time with Jah.
They got used to each other’s company and it became easy for them to bring out that chemistry on camera come the day of the shoot,” said Blaqs.
He said the music video took eight hours to shoot and he had to ask DJ Tamuka to extend the song so that it could fit the many different scenes.
For her role, MisRed told our sister publication H-Metro that Blaqs who directed the video was a genius.
To get MisRed on a music video, she said she has to be in sync with your vision as an artist before anything else.
“I’m not really a music video type of girl; I’m interested in creating brilliant content with people who get my craziness. Don’t think I’ll really do another music video after this, but I have got a standard rider, I work with a specific glam team, so if that’s not there it may not happen,” she said.
MisRed was labeled a home-wrecker after a picture of her cuddling with Jah Prayzah (from the video shoot) was leaked to the public. Asked whether the leaked pictures and music video had caused a rift between her and Rufaro — Jah Prayzah’s wife, MisRed said: “Mai Mukombe is a star player, she was part of the process and again, Jah Prayzah is extremely professional.
“People will always have opinions but at the end of the day, we wanted to create great content for the fans who truly appreciate Jah Prayzah’s music and love MisRed the personality.”
She said this incident was helpful as she discovered that some people she deemed friends were actually the ones who were at the forefront deriding her.
“I saw people’s true characters as I had ‘friends’ say the nastiest things about me in groups. I had to keep a straight face as there were women who were ready to judge me just to be at the top of the story, but I’m grateful for that.
“I’m an extremely vocal person online and I don’t shy away from responding to negativity because I’m also human, but on this one, I had to take a back seat. It was hard, my management actually wanted to change my social media passwords because they know me well but I think I was calm enough.”
MisRed said although the experience was emotionally draining, it was worth it in the end.
The Chronicle
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ENTERTAINMENT
Caine Prize reviews Zimbabwean winner Kundizeza’s story after AI claims
The Caine Prize says it has started a review after The Atlantic suggested the winning story, “The Blue Fighter”, may have used AI. No finding has been made.
Published
13 Oct 2026on
13/10/2026The Caine Prize for African Writing has begun looking into claims that the story that won this year’s award may have been written with the help of artificial intelligence, days after the Zimbabwean winner was named.
Simbarashe Steyn Kundizeza was announced as the 2026 winner in London on Tuesday 6 October for his story “The Blue Fighter”. On 11 October, according to the prize’s own statement, journalist Vauhini Vara published an article in The Atlantic suggesting the story may have used AI.
In its statement, the Caine Prize said that when claims such as this are made, “it is our responsibility to look into them”. It said it aims to take a “human-centred approach”, ensuring writers are supported and cared for during the process, and that it has “initiated that process in this case”. It promised to share updates on its website as matters unfold.
The prize also pointed to the way it works: it honours stories that have already been published elsewhere, which it described as a “bond of trust” with the magazines and journals that publish the original work. The Bookseller and NewZimbabwe both reported the statement.
It is important to be clear about where things stand. The Atlantic piece raises a suggestion; the Caine Prize has not announced any finding, and nothing in the coverage reviewed by AllInZimbabwe shows that Kundizeza has been found to have done anything wrong. None of that coverage carried a response from him to the allegation. After winning, he told NewZimbabwe the award meant a great deal and gave him more belief that he could keep making room for a writing life.
AllInZimbabwe will report the outcome of the review when the Caine Prize publishes it.
Sources: Caine Prize statement; NewZimbabwe; The Bookseller.
ENTERTAINMENT
Zimbabwe’s Blessing Musariri is the only African finalist for the $50,000 Kirkus Prize
Her young-adult novel When It’s Your Turn for Midnight, set in Mutare, is one of 18 books shortlisted for the American literary award, with winners announced on 7 October.
Published
3 Sep 2026on
03/09/2026Zimbabwean author Blessing Musariri has been named a finalist for the 2026 Kirkus Prize, one of the richest literary awards in the United States, for her young-adult novel When It’s Your Turn for Midnight.
Kirkus Reviews announced 18 finalists across three categories: fiction, nonfiction and young readers’ literature. Musariri’s book is one of two shortlisted in the young-adult strand of the young readers’ category, alongside Anger Is Only a Shadow by Elizabeth Acevedo, a two-time previous finalist. Brittle Paper, which tracks African writing, noted that Musariri is the only African author on this year’s list.
Each category winner receives $50,000. To be eligible, a book must first have earned a starred review from Kirkus, whose verdicts carry weight with publishers and booksellers. Kirkus’s own review described the novel as a story grounded in emotional truths and praised its handling of the silences between generations.
The novel follows 15-year-old Chianti, whose life is upended when her mother reveals in anger that the man she calls Baba is not her biological father. She retreats to her grandmother’s home in Mutare, where she is drawn into the world of four elderly women who fought together in the liberation war and now run a second-hand clothing business that Chianti helps take onto TikTok. Old photographs and a notebook gradually surface a wartime past the women would rather not discuss.
The book was published in the United Kingdom by Bloomsbury’s Zephyr imprint in 2024 and in the United States by Lerner Publishing’s Carolrhoda Lab imprint in April this year, according to Brittle Paper.
The other young readers’ finalists are picture books Navigating Night and Electric Birds of Pothakudi, and middle-grade titles The Lovely Dark by Matthew Fox and This Is a Door by Daniel Nayeri. The fiction shortlist includes Colson Whitehead and Douglas Stuart.
Winners will be announced on 7 October at a ceremony in New York, which Kirkus says will be streamed live on its YouTube channel.
Sources: Kirkus Reviews; Brittle Paper; NewZimbabwe.
DIASPORA
US court orders Lion King composer to pay Zimbabwean comedian Learnmore Jonasi’s legal costs
A California federal court has ordered composer Lebohang “Lebo M” Morake to pay US$39,560 towards the legal fees of Zimbabwean comedian Learnmore Jonasi, after Morake withdrew a defamation claim over a joke about a Lion King chant.
Published
1 Sep 2026on
01/09/2026A United States federal court has ordered South African composer Lebohang “Lebo M” Morake to pay US$39,560 towards the legal costs of Zimbabwean comedian Learnmore Jonasi, closing the latest chapter in a dispute that began with a joke about The Lion King.
The order was made on 29 August under California’s anti-SLAPP statute, a law designed to protect people from lawsuits brought to silence public comment. NewZimbabwe.com reported that the court found Jonasi, born Learnmore Mwanyenyeka, qualified as the prevailing party after Morake stepped back from his original claims. TimesLive reported that the court dismissed the lawsuit on 10 July and that the principal matter was withdrawn without prejudice.
The row started with a podcast appearance in which Jonasi offered a comic translation of “Nants’ ingonyama bagithi Baba”, the opening chant of “Circle of Life”. Rather than the traditional Zulu praise reading, he rendered it roughly as “look, there’s a lion”. Morake, who worked on the music associated with the Disney film, sued in the US District Court for the Central District of California, alleging defamation and arguing the comedian had trivialised a composition of cultural significance. TimesLive put the value of that claim at US$27 million.
According to NewZimbabwe.com, the court set Jonasi’s reasonable attorneys’ fees at US$39,560 but refused his request for an upward multiplier that would have increased the award. The same report said Jonasi paid roughly US$5,350 out of his own pocket, with his lawyers heavily discounting their fees while arguing his First Amendment free-speech rights. The court was explicit that it was not ruling on which translation of the Zulu phrase is correct, only on who had prevailed for the purposes of the anti-SLAPP law.
Morake has not accepted the outcome as final. In a statement issued through his legal team and shared with TshisaLIVE, he said the case had “never been about winning a war of personalities” but about “the protection of heritage, legacy, cultural dignity”. His lawyers said they were studying the ruling and evaluating the options open to them.
For Jonasi, who built his following on the international comedy circuit, the ruling removes a financial threat that had hung over him for much of the year.
Sources: NewZimbabwe.com; TimesLive (TshisaLIVE); The Citizen.
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