Ndebele. One of the stars of the decade was Leonard Zhakata, whose musical project was a spinoff of the double play Maungwe Brothers, an act fronted by Zhakata and his cousin Thomas Makion. Other popular acts included Pengaudzoke, the Wrist Brothers, Zimbabwe Chachacha Kings, Aaron Chinamira, King Pharao, Hosiah Chipanga, Stabien Mawire and Paul Mpofu, to mention a few. The decade 2000 till present has been characterised by a wrangle for the crown for the kingship of Sungura between the two most prominent Sungura musicians of the decade, Alick Macheso and Tongai Moyo. Having dominated sales, tour and concert attendances, the heckling and counter-heckling by the artists at shows and in some recorded material is strong proof of their feud akin to the BIG vs Tupac in American '90s hip hop. Other artists to come through this decade include Joseph Garakara, Suluman Chimbetu (son of Simon), Allan Chimbetu (Simon's brother), Tryson Chimbetu (Naison's son), Cephas Mashakada, Gift Amuli, Howard and Tatenda Pinjisi, First Farai as well as Josphat and Daiton Somanje, the Pengaudzoke frontmen who were pursuing solo careers. Alick Macheso has largely dominated the scene, creating popular dance choreographies such as 'Borrowdale', Razor Wire, zoraaa butter, femba bute and kedebu, which mimic everyday routines in Zimbabwean life. A new generation of Sungura artists is emerging, largely influenced by Macheso's distinct style of a leading bass guitar. This generation includes artists like Mark Ngwazi, Tendai Ngwazi, Peter Moyo (son of Tongai), Simon Mutambi, Romeo Gasa, Sugar Sugar, Jacob Moyana and Francis 'Slomo' Dhaka among others. The genre is increasingly getting international recognition with some non-natives trying it out. Notable among these are Eirik Hoff Walmsiness 'Eriki' from Norway and Indian Dhyaan Kumar. System Tazvida, Simon Chimbetu, James Chimombe, Tongai Moyo, Paul Matavire, John Chibadura, Leonard Dembo, and Thomas Makion have all died. It's also worth noting that a new wave of Sungura, dubbed Trap Sungura, has emerged in Zimbabwe, fueled by Tanto Wavie. Imbube Imbube was created by Zimbabweans while they were still technically a part of Rhodesian culture. This genre consisted of male singers in an acapella style, which differed from most of the typically music at the time that was formed around unique instruments. During this time period, many of the Zimbabwe men worked in mines for long hours. They formed Imbube by singing along together as a mean of passing the time. The vocals coming from the