Tonino Amurri – Monday afternoon, treacherously, Raiuno broadcast a full hour of Mina – Il Giorno 21.03.1989

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.

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?

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.

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.