Miley Cyrus has Nigerian parents

Parody performers, the Naija Boyz, take on Miley Cyrus' "Wrecking Ball." It is unclear what they're trying to say.

A still from "Wrecking Ball: African Remix!!"

It is very likely that Miley Cyrus will end up somewhere in a number of “best of 2013” lists, for reasons many still struggle to understand. Maybe for culturally appropriating ‘twerking’ and making it popular with white suburban kids in the US, and probably beyond. At least it was not the South African “pro” twerk team. Miley Cyrus even managed to inspire the American-based Naija Boyz, the Nigerian Weird Al Jankovic due. Basically, Naija Boyz do parody music videos of pop songs, like Wiz Khalifa’s “Black and Yellow.” The original “Black and Yellow” was a tribute to the sports teams of the American city Pittsburgh. In Naija Boyz’s hands it becomes a song about dating in Nigeria. Or what they did to Lil Wayne’s “Lollilop,” turned into a suggestive song about Nigerian food. Even Beyonce hasn’t been spared.

Now they’ve done their take on Miley’s “Wrecking Ball.” As Rolling Stone described the visuals at the time: It “… first shows Cyrus in an extreme close-up in front of a blindingly white background; she’s crying as the song begins, and the whole affair recalls Sinead O’Connor’s iconic “Nothing Compares 2 U” video. Later, she’s wearing a white crop top and matching bottoms, smoldering as she carries a massive hammer and walks toward the camera in slow motion.”

Music critics were shocked, to say the least. Rolling Stone again: “… the most shocking moment of the video comes about 75 seconds in, when a nude Cyrus is shown straddling a swinging wrecking ball and lip-synching along to the pop ballad. The 20-year-old smashes more walls and licks the aforementioned sledgehammer before eventually collapsing in the middle of the rubble.” A Guardian critic slammed her for “… exploring the iconography of porn” to break with her former innocent image. Despite these criticisms, the video and the song went viral.

In Naija Boyz’s hands, ‘Wrecking Ball – African Remix’, becomes something else. They sped up the beat and made a spoof that both mocks Miley and takes on a bunch of stereotypes of strict Nigerian parents beating their kids around because of their Miley-inspired behavior. You could read it as the Naija Boyz critically taking on American or western influence on Nigerian youth or critiquing the outmoded parenting methods of Nigerian parents. But the guys were probably just having lots of fun … and Miley happened to make people laugh and inspired them.

Watch it.

Further Reading

Kenya’s vibe shift

From aesthetic cool to political confusion, a new generation in Kenya is navigating broken promises, borrowed styles, and the blurred lines between irony and ideology.

Africa and the AI race

At summits and in speeches, African leaders promise to harness AI for development. But without investment in power, connectivity, and people, the continent risks replaying old failures in new code.

After the uprising

Years into Cameroon’s Anglophone conflict, the rebellion faces internal fractures, waning support, and military pressure—raising the question of what future, if any, lies ahead for Ambazonian aspirations.

In search of Saadia

Who was Saadia, and why has she been forgotten? A search for one woman’s story opens up bigger questions about race, migration, belonging, and the gaps history leaves behind.

Binti, revisited

More than two decades after its release, Lady Jaydee’s debut album still resonates—offering a window into Tanzanian pop, gender politics, and the sound of a generation coming into its own.

The bones beneath our feet

A powerful new documentary follows Evelyn Wanjugu Kimathi’s personal and political journey to recover her father’s remains—and to reckon with Kenya’s unfinished struggle for land, justice, and historical memory.

What comes after liberation?

In this wide-ranging conversation, the freedom fighter and former Constitutional Court justice Albie Sachs reflects on law, liberation, and the unfinished work of building a just South Africa.

The cost of care

In Africa’s migration economy, women’s labor fuels households abroad while their own needs are sidelined at home. What does freedom look like when care itself becomes a form of exile?

The memory keepers

A new documentary follows two women’s mission to decolonize Nairobi’s libraries, revealing how good intentions collide with bureaucracy, donor politics, and the ghosts of colonialism.

Making films against amnesia

The director of the Oscar-nominated film ‘Soundtrack to a Coup d’Etat’ reflects on imperial violence, corporate warfare, and how cinema can disrupt the official record—and help us remember differently.