M¥ss Keta
"Milano, Sushi and Coca" is what M¥ss Keta is rapping in her so far most successful track. The lyrics are simple. Keta names the ingredients of a ketamine cocktail, the favorized Nigiri on the menu of a Japanese restaurant and other ingredients for a wild Milan party night with her smokey voice. It seems almost like a critic of the said, a subversive power develops.
M¥ss Keta, who appears exclusively in sunglasses and changing masks covering the bottom half of her face in her music videos as well as at live performances, has described herself as a "muse in form of a pop star, model, trendsetter and diva". The Milanese artist is an art figure through and through, jumps around in self-tailored costumes in her videos accompanied by the Ketaminis, an almost female gang.
But it is also the omnipresent femininity in tracks such as La Ragazzi Di Porta Venezia or Xananas which make her work political. She wears short and sexy outfits or even latex costumes, uses traffic signs in the middle of a highly frequented road as pole dance poles. This is surely erotically loaded, but instead of a male perspective a self-confident natural femininity with the aim to please nobody but itself is presented.
About M¥ss Keta
"Milano, Sushi and Coca" is what M¥ss Keta is rapping in her so far most successful track. The lyrics are simple. Keta names the ingredients of a ketamine cocktail, the favorized Nigiri on the menu of a Japanese restaurant and other ingredients for a wild Milan party night with her smokey voice. It seems almost like a critic of the said, a subversive power develops.
M¥ss Keta, who appears exclusively in sunglasses and changing masks covering the bottom half of her face in her music videos as well as at live performances, has described herself as a "muse in form of a pop star, model, trendsetter and diva". The Milanese artist is an art figure through and through, jumps around in self-tailored costumes in her videos accompanied by the Ketaminis, an almost female gang.
But it is also the omnipresent femininity in tracks such as La Ragazzi Di Porta Venezia or Xananas which make her work political. She wears short and sexy outfits or even latex costumes, uses traffic signs in the middle of a highly frequented road as pole dance poles. This is surely erotically loaded, but instead of a male perspective a self-confident natural femininity with the aim to please nobody but itself is presented.












