These replacement names have yet to stick and even more troubling, the ever-present "afro-" prefix still follows the tradition of portraying Africa in monolithic terms. A much simpler and respectful solution, is to refer to what is currently known as Afrobeats as pop music from a specific country (i.e. Ghanaian Pop Music) and to other established musical styles by their local names—"highlife," "fuji," "gqom," "bongo flava" and so forth, equipping new listeners with the right vocabulary to experience the varying cultures. In the rat race for crossover success, Africa's biggest pop stars and their backers have been preoccupied with creating a palatable brand for US and UK consumers while losing sight of the long game—retaining ownership of culture. For African pop music to command the level of respect that is reflective of its influence, artists must divorce themselves from the idea that crossing over to Western markets is the highest privilege. "Afrobeats" centers western audiences in the very language used to describe the soundtrack to the lives of university kids partying on the beaches of Accra and the Lagos workers who set out at 5am to beat traffic. This is simply unfair. African art and by extension Black art should be allowed to exist without the constant burden of performance under a Western gaze.