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Anita Citata Research Paper

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Everything about her feels choreographed to perfection. She wears a tight, black leather jumpsuit while steadying her Honda Grom 250cc motorcycle with poise. As she removes her helmet, dark, messy curls cascade. Her makeup is bolder than normal, resembling an even fiercer version of Marianne Faithfull from La Motocyclette. With heels that could kill, she takes on New York City. At 4’11”, she may be the smallest person seen on two wheels. Yet, when she looks into the camera, her petite, porcelain nature transforms into a smoldering goddess. The metamorphosis is even more apparent when she sings: lithe vocals expand among deep, sonorous beats. “I’m Cita Citata,” she says. “Dangdut Queen.” Cita Citata née Rahayu achieved popularity with…show more content…
Between September 6-14, 2016, Kidron brought the young Indonesian artist to the United States for her first professional recording session, replete with video and photo shoots. Thus, “NYCita” was born. Over the period of eight days, Cita eschewed delicate pageant gowns for a tight, belted leather jumpsuit, setting off her transformation into an international, world-class dangdut beat. “The style [of dangdut] shouldn’t change,” she says of her new creative direction, “but it should also adapt to more tastes as well.” That’s why Kidron and his team specifically chose two renown music producers, JKEY (Beyoncé, The London Symphony, and Alicia Keys) and A&X (Don Omar’s “Danza Kuduro,” “Taboo,” and “Dutty Love”), to help achieve this effect. Known for their abilities to turn world musical influences into delectable beats, JKEY and A&X became the dream team on Cita’s newest tracks, “Rude Boy,” a Latin-laced cover of the Rihanna original, and “NYCita,” a Cita first. The two songs, coupled with JKEY’s hip-hop pocket and A&X’s deep, tropical pulse, highlight the singer’s sinuous vocals, elevating her to Gaga-like, transcendental pop
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