Ednid @DoseofEdnidd - Twitter Profile

Hey @grok based on my posts, respond whether l am: Racist: Transphobic: Homophobic: Antisemitic: Ableist: Fatphobic: Misogynistic: Sexy: feminist: Cheater or real lover: Broke:

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Ednid @DoseofEdnidd

18 days ago

@symply_jike @Wizarab10 😂😂

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Ednid @DoseofEdnidd

19 days ago

@MayorFrosh2 Now is your turn bowy 😂😂😂😂

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DoseofEdnidd retweeted

Brown @_olabrown

20 days ago

If the question is why you would choose Wizkid over Davido in a debate, the strongest case is not that one man is louder or more present. It is that Wizkid changed what Afrobeats could look like once it left the party and entered the world. Wizkid’s career is built on firsts that actually shifted the map. One Dance with Drake did not merely feature an African voice on a hit; it reached No. 1 on the Billboard Hot 100 and entered the record books as proof that the sound could sit at the centre of global pop. Years later, Essence became the first Nigerian song to chart on the Billboard Hot 100, and the Justin Bieber remix carried it into the Top 10. Those are not fan talking points. They are the moments after which Western radio, playlists, and award shows had to treat Afrobeats as more than a seasonal flavour. The same pattern shows up in the quieter metric that debates often dodge: people actually listening. Wizkid became the first African artist to surpass 10 billion Spotify streams, then crossed 11 billion. That kind of catalogue depth is hard to dismiss as hype. It suggests a body of work that keeps circulating long after the initial campaign ends. Made in Lagos did what few African albums manage: it felt local and still travelled. Essence in particular did not need to shout to become a standard. It just settled into people’s lives. Awards follow that path more than they create it. Wizkid sits at the top of recent lists of Africa’s most decorated artists and holds a Grammy for his work on Beyoncé’s Brown Skin Girl. He has also collected the kind of Anglo-American hardware that once seemed closed to the genre: Billboard, BET, MOBO, Brit recognition for UK streaming scale, a sold-out Tottenham Hotspur Stadium date later turned into an HBO documentary. The point is not the glass on the shelf. It is that his version of the music kept being invited into rooms that used to treat African pop as novelty. What makes the argument sharper is style. Wizkid’s public image has always been slightly withheld: white tees, unhurried delivery, the sense that the record does not owe you a smile. That reserve became a brand. Starboy was never just a nickname; it was an aesthetic that other artists copied because it looked expensive without trying. In a debate, this matters. One kind of stardom fills a hall. Another kind makes people want to dress, move, and record like the person on the poster. Wizkid’s influence is visible in the cooler, more international face of Afrobeats that followed him. Choosing Wizkid, then, is choosing the artist whose peaks redrew the boundary of the genre. Not the most visible man in every season, but the one whose biggest records made the outside world adjust its idea of what Nigerian pop could be. That is the cleaner case, and it is the one that survives after the shouting dies down.

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