Mina as Transnational Popular Music Star in the Early 1960s
As a ‘timeless icon’, ‘sophisticated performer’ and ‘the most versatile singer in Italian pop music’, Mina is perhaps the most famous and successful proponent of the 'canzone italiana', Italian mainstream pop music. Her meteoric rise to fame in the early 1960s was mediated by television an...
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doaj-89467cd9c6e84cd391a993150e37da2e2020-11-25T00:50:23ZcatLiverpool University PressModern Languages Open2052-53972018-12-01110.3828/mlo.v0i0.237147Mina as Transnational Popular Music Star in the Early 1960sRachel Haworth0University of HullAs a ‘timeless icon’, ‘sophisticated performer’ and ‘the most versatile singer in Italian pop music’, Mina is perhaps the most famous and successful proponent of the 'canzone italiana', Italian mainstream pop music. Her meteoric rise to fame in the early 1960s was mediated by television and the popular press, which both presented Mina as a quintessential Italian star. Her popularity also extended abroad: in the same period, and at the climax of her rise to fame, Mina embarked on television and concert tours of Spain, West Germany, Venezuela, France and Japan. Singles released in these countries during this period performed extremely well, with ‘Heisser Sand’ in West Germany and ‘Suna ni kieta namida’ in Japan charting at number one in each country’s singles chart in 1962 and 1964 respectively. Such success illustrates how, in the period 1960–5, the singer became a transnational popular music star, who was able ‘to produce cultural meaning in relation to (but not dictated by) the existing power structures of nations and states, to remain mobile, flexible, and open to multiple avenues of meaning and pleasure in different contexts of politics, social relations, and cultural assumptions’ (Meeuf and Raphael 2). Through this lens of transnationality, the article explores Mina’s status as star as it was established during the early 1960s in the Italian context before focusing specifically on Mina’s presence on the global market during the same period. It takes as case studies Mina’s star image in Italy in the late 1950s and early 1960s, as well as the singles released on the Japanese and West German markets, as a means of interrogating the extent to which Mina is transnational, with the potential to generate new cultural and social meanings, both in Italy and beyond.https://www.modernlanguagesopen.org/articles/237 |
collection |
DOAJ |
language |
Catalan |
format |
Article |
sources |
DOAJ |
author |
Rachel Haworth |
spellingShingle |
Rachel Haworth Mina as Transnational Popular Music Star in the Early 1960s Modern Languages Open |
author_facet |
Rachel Haworth |
author_sort |
Rachel Haworth |
title |
Mina as Transnational Popular Music Star in the Early 1960s |
title_short |
Mina as Transnational Popular Music Star in the Early 1960s |
title_full |
Mina as Transnational Popular Music Star in the Early 1960s |
title_fullStr |
Mina as Transnational Popular Music Star in the Early 1960s |
title_full_unstemmed |
Mina as Transnational Popular Music Star in the Early 1960s |
title_sort |
mina as transnational popular music star in the early 1960s |
publisher |
Liverpool University Press |
series |
Modern Languages Open |
issn |
2052-5397 |
publishDate |
2018-12-01 |
description |
As a ‘timeless icon’, ‘sophisticated performer’ and ‘the most versatile singer in Italian pop music’, Mina is perhaps the most famous and successful proponent of the 'canzone italiana', Italian mainstream pop music. Her meteoric rise to fame in the early 1960s was mediated by television and the popular press, which both presented Mina as a quintessential Italian star. Her popularity also extended abroad: in the same period, and at the climax of her rise to fame, Mina embarked on television and concert tours of Spain, West Germany, Venezuela, France and Japan. Singles released in these countries during this period performed extremely well, with ‘Heisser Sand’ in West Germany and ‘Suna ni kieta namida’ in Japan charting at number one in each country’s singles chart in 1962 and 1964 respectively. Such success illustrates how, in the period 1960–5, the singer became a transnational popular music star, who was able ‘to produce cultural meaning in relation to (but not dictated by) the existing power structures of nations and states, to remain mobile, flexible, and open to multiple avenues of meaning and pleasure in different contexts of politics, social relations, and cultural assumptions’ (Meeuf and Raphael 2). Through this lens of transnationality, the article explores Mina’s status as star as it was established during the early 1960s in the Italian context before focusing specifically on Mina’s presence on the global market during the same period. It takes as case studies Mina’s star image in Italy in the late 1950s and early 1960s, as well as the singles released on the Japanese and West German markets, as a means of interrogating the extent to which Mina is transnational, with the potential to generate new cultural and social meanings, both in Italy and beyond. |
url |
https://www.modernlanguagesopen.org/articles/237 |
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