French newspaper refers to singer Anitta as ‘Rio’s Beyoncé’ because of her rising international success

Note from BW of Brazil: Everybody wants the Queen B’s throne! And for years, it seems that Brazil’s media has been hell bent on finding a woman who would be Brazil’s very own version of Mrs. Knowles-Carter. Marketing sometimes gets to the point where it’s funny. After years of Brazil’s own media calling some singer, model, dancer or what-have-you the “Brazilian Beyoncé” and never quite being able to make the moniker stick, for one, because no one’s been able to measure to the title, and two, Portuguese is simply not as influential a language on the world stage as English and three, Brazil still won’t allow a self-declared black woman to reach such heights of musical stardom (see note one). And that includes one of the country’s most popular current singer, Ludmilla, who actually started her career under the stage name of MC Beyoncé.

So now Brazil’s media can finally say, “See, we told you there would be a ‘Brazilian Beyoncé’, even the French are saying so!” Well, I’m not going to go as far as to call Anitta by this worn moniker of Brazil’s press agents because I think Anitta just be known for who she is. She’s reached levels of success that very few Brazilian entertainers will ever reach. And if she continues to rise on the world stage, there will be no need to be compared to anyone. Remember, it was a Brazilian singer, Elza Soares, that the BBC named the singer of the millenium on her own right, regardless of some calling her the “Brazilian Tina Turner”. So whatever you may think of “Poderosa” (powerful) “Malandra“, she’s most def making some power moves!

French newspaper calls Anitta de ‘Rio’s Beyoncé’ because of her international success

Anitta was called ‘Beyoncé carioca’ by the French newspaper ‘Le Monde’

By Patrícia Dias

Anitta has it all! A success wherever she goes, the singer is again compared to the American Beyoncé, this time by the French newspaper Le Monde which, using the title “Beyoncé carioca”, explained how the Brazilian has become a planetary phenomenon. The correspondent of the publication in Brazil reported that the video, published in December on YouTube, reached in only 12 hours the 16th position in the ranking of Spotify’s Viral Charts in the country and that continues, almost three months later, among the 200 most heard titles in the world. “Watching 203 million times on YouTube in mid-February, the song confirms the success of what is described as “Beyoncé do Brasil” (Beyoncé of Brazil)”, the text said.

Singer represents Brazilian funk

The report also explained that Anitta – who continues to build her career abroad – is a true representative of Brazilian funk, “a movement closely followed by music specialists.” According to the correspondent, this rhythm, once restricted to the dances of the favelas and the “torrid discos on the outskirts of São Paulo”, has finally gone beyond its borders. Sandra Jimenez, who heads the YouTube music department in Latin America, said “2017 was the year that Brazilian talent broke the language barrier” and followed the example of Rio names such as MC Kevinho or MC Fioti. For Carlos Palombini, professor of musicology at the Federal University of Minas Gerais, “Brazilian funk has changed since the beginning of 2010, leaving aside its aggressive, vindictive and full of swearing, to use pop codes, more melodious and easier to export.”

Brazilian embodies contemporary society

However, the text commented, Anitta, praised by the Colombian Maluma, has something more: “she would incarnate Brazilian contemporary society in some way.” Citing the music critic of the G1 website, Braulio Lorentz, the publication said that the “poderosa” (meaning ‘powerful one’, in reference to Anitta’s break out smash hit), knew how to seduce girls from all walks of life “and that the artist would be a symbol of female empowerment. The singer could be considered as a feminist figure, and concluded by analyzing that even if the funkeira adopts the codes of the woman object, she also assumes, without complex, her cellulite in the first ten seconds of the clip “Vai, Malandra”. A militant act,” summed up M magazine.

Source: MSN

Note

1. Anitta’s numerous cosmetic procedures and avoidance of defining herself as definitively black is perhaps proof of this.