Giorgio Bocca – The jukebox is too tight for Mina – ll Giorno 11.12.1960

Tonight Mina has crazy hair and a dress on which sequins shine. Pale. Slender, her eyes dilated with neurotic rage, the girl wrings her hands to overcome the disgust of strangers breathing down on her.
We are in a dance hall on the outskirts of Turin. With two thousand five hundred liras each (almost two days’ work) the young men of the neighborhood paid themselves, for one hour, for the physical presence of Italy’s most famous “screamer”; the lucky ones, now, surround her little table, under the orchestra.

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Oriana Fallaci – The siren of twenty years – The European 05.02.1961

But who, then, is this girl who in not even two years has become a kind of myth of Italians young and old, poor and rich, suckers and smart, communists and Catholics, and in one minute earns as much as a magistrate earns in a month (one hundred and fifty thousand traffic circles), in one week collects six covers of authoritative weeklies, and if you say you have never seen her sing they treat you as an ignoramus, a traitor to the fatherland, or a cretin?

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Tony di Corcia from “Mina Viva lei” – Clichy Editions 2023

It has become very difficult to write about Mina.
This oh-so-round and fateful birthday of 80, which falls today, has already been consumed by streams of words, hordes of footage, odd images.
Everything seems already said. Premature retirement in 1978-an anti-media seclusion-made her forever young.

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Natalia Aspesi – Here is Mina fatter more beautiful and better – La Repubblica 04.07.1978

Fifty years? It could be 30 or 90, it would be the same. Tomorrow Mina turns half a century old, and the occasion only serves to make it clear how the singer has become, in Italian custom, a symbol rather than a living person. A symbol of an Italy as good as she was, glorious and optimistic, that of the boom years with which her rise coincided; but also, for most of those over 30, a sentimental symbol in the fullest sense of the word.

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Indro Montanelli – Mina’s fragile secret – 04.02.1961

Two forces seem to sustain it, instinct and ignorance. But then it is not hard to see that it is a calculated fiction so clever that it appears to be the truth. Rome, Feb. They tell me that here in Rome, the San Remo champions who came to repeat their singing feats here have had bad luck.

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Marinella Venegoni – An article – La Stampa 18.04.2001

It is NOT a half-hearted encounter, this one between two authentic champions of popular music, Mimmo Modugno and MINA, an encounter from which comes that long-announced album that now finally arrives (it is available from tomorrow, Thursday 20) under the provocative title of “Sconcerto.” It is not halfway because MINA goes beyond affectionate philological retrieval, and instead engages in a wholly original reinterpretation of some of the Apulian artist’s multifaceted cornerstones.

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Marinella Venegoni – Mina. The former tiger in love with mystery – La Stampa 24.03.1990

Fifty years? It could be 30 or 90, it would be the same. Tomorrow Mina turns half a century old, and the occasion only serves to make it clear how the singer has become, in Italian custom, a symbol rather than a living person. A symbol of an Italy as good as she was, glorious and optimistic, that of the boom years with which her rise coincided; but also, for most of those over 30, a sentimental symbol in the fullest sense of the word.

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Sandro Bolchi – Mina, being fat is not a sin – Corriere della Sera 23.08.1978

ROME – “I know, I am fat, but so is Fitzgerald. Is it my fault that these days at French cologne I prefer deep-eyed broth? I don’t want to fly, otherwise I’d hire a hot air balloon that would lift me skyward, and if a mischievous kite gave me too hard a pat with its wings I’d glide into the sea, blowing for the fishes my latest song “Lady Mazzini,” smiling as she speaks, revels in hiding in certain old zimarre where the chili can dance the tango without being seen or rebuked, and from which sprouts an increasingly solemn, generous face, dressed in white, tanned by a moon of the Sixties.

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Carlo Giovetti – She can sing better than before but don’t call her a tiger – Il Giorno 16.04.1968

Fifty years? It could be 30 or 90, it would be the same. Tomorrow Mina turns half a century old, and the occasion only serves to make it clear how the singer has become, in Italian custom, a symbol rather than a living person. A symbol of an Italy as good as she was, glorious and optimistic, that of the boom years with which her rise coincided; but also, for most of those over 30, a sentimental symbol in the fullest sense of the word.

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Marco Mangiarotti – Mina, a great voice in the wind – The Nation 31.10.2000

MILAN – If you peel back Wind’s packaging, you find an album with four unreleased Mina covers. In half a million copies, which will be given away to new subscribers from November to Christmas (cell phone plus card plus Internet plus CD). The two-year contract between the company and the singer, which began with the voiceover in the controversial penalty spot made by Roberto Baggio, will thus give us something sonorous and palpable.

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Gianni Ferrio – Interview by Lele Cerri

Gianni Ferrio aka “the inevitability of making music.” Gianni Ferrio or “Improvvisamente,” “Ora o mai più” and many other wonderful musical games until “Non gioco più” and then again soaring with Mina’s “Dalla terra.” Gianni Ferrio companion of Mina’s long and fruitful musical journey, witnessing her entering, peeking out from behind a juke box, into the lives of Italians that, at least musically, would never be the same as before.

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Michele Serra – A reckless voice – La Repubblica 24.03.2000

The “Tiger of Cremona” turns 60 years old tomorrow. From lavish black-and-white TV show-woman to sophisticated lady of a thousand songs Mina turns sixty, and you almost can’t believe it. There are really very few of them, as many as are barely enough to make a long-distance girl. Very few to measure the long road of his steely voice, which has pierced all the ages of our age, the very many ages we have been fortunate enough to live through leaning against each other, clenched like books suffocating in a shelf that is too short.

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Antonello Falqui – Interview by Lele Cerri

Mr. Sense Of Space receives me in a house that confirms him as such, handsome and ready, as he is, for the wide-angle lens, for one of his shots with horizon line resets, endless farsighted central escapes, fields and counter-fields with perfect rhythms, ellipses and details, skilful and engaging, fluid tracking shots: authentic treadmills for the viewer’s curiosity, as only those precursors of the zoom that were his early Studio One tracking shots could be.

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Natalia Aspesi – Mina, the enchantment of a free woman’s voice – Venerdì di Repubblica 30.10.1987

They last saw her on a stage in the summer of ’78, in Versilia. The audience was the usual vacation crowd, lots of people who felt beautiful; all tanned, all thin, even overdressed. Mina was an enchanting apparition, benevolent, maternal, ironic, even disturbing in her total disobedience to aesthetic cravings. Like a distant queen, confident of her mysterious powers, she exhibited the soft whiteness of her complexion, her fattened body, the messy black veils that covered her.

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Bruno Canfora – Interview by Lele Cerri

And at the name of Bruno Canfora, in all of us who listened to Mina stroll fluidly over those famous “customary musical fantasies” announced by Paolo Panelli in Canzonissima 1968, a sense of gratitude cannot but awaken for his having given us the opportunity to grow as spectators of the beautiful, of that musical pleasure that we were able to enjoy live on those precious Saturday nights.

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Lele Cerri – Mina and Orchestra exclusively at Compass 1972

Fifty years? It could be 30 or 90, it would be the same. Tomorrow Mina turns half a century old, and the occasion only serves to make it clear how the singer has become, in Italian custom, a symbol rather than a living person. A symbol of an Italy as good as she was, glorious and optimistic, that of the boom years with which her rise coincided; but also, for most of those over 30, a sentimental symbol in the fullest sense of the word.

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Gianni Clerici – Success paid dearly – Il Giorno 03.09.1966

Fifty years? It could be 30 or 90, it would be the same. Tomorrow Mina turns half a century old, and the occasion only serves to make it clear how the singer has become, in Italian custom, a symbol rather than a living person. A symbol of an Italy as good as she was, glorious and optimistic, that of the boom years with which her rise coincided; but also, for most of those over 30, a sentimental symbol in the fullest sense of the word.

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Natalia Aspesi – For the only Mina of the season 2000 spectators – Il Giorno 25.07.1962

IT LOOKS LIKE ONE of those photographs that the great American magazines devote to the monuments of pop music and jazz: the background is completely dark, a line of light draws the outline of a couple of serious, committed musicians, and makes her, the diva’s, profile shine. The arm supporting the microphone, the one swaying wearily toward the audience, the curves of the deep neckline of the black dress, the dramatic face that is suffering Gershwin.

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Lelio Luttazzi – Interview by Lele Cerri

Here they are in the square, overlooking the valley and toward the sea; that behind the rooftops is the chimney of his house, white clouds of smoke promising a delicious roast.
His wife Rossana opens the door for me, kisses and hugs that hymn a beautiful slice of life spent together, and there, behind, in the hallway with walls and background of books, with the look I expected, Lelio Luttazzi…

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Guido Gerosa – Stars are born in Porta Garibaldi – La Notte 02.12.1958

The tall girl with the skinny shoulder blades did not want to come out of the wings to sing her song: she swayed restlessly, smoothed her short hair nervously, and smiled as she fixed her gaze in a vague, distant spot suspended in the void. Seventeen years old, 5’7″ in stature, a dress that wobbled on her, Mina took refuge behind her shyness; host Corrado had to make her brave.

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