1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:07,083 --> 00:00:08,542 SPEAKER: There are hundreds of unique, 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:08,625 --> 00:00:10,000 inexplicable afflictions. 5 00:00:10,875 --> 00:00:12,917 Being different is not a defect of character. 6 00:00:13,250 --> 00:00:14,583 ♪ (DRAMATIC MUSIC PLAYS) ♪ 7 00:00:14,959 --> 00:00:17,959 SPEAKER 2: You must understand the nature of the afflicted 8 00:00:19,917 --> 00:00:22,917 before the empire is brought to a shuttering halt. 9 00:00:23,208 --> 00:00:24,291 ♪ (MUSIC BUILDS) ♪ 10 00:00:26,208 --> 00:00:27,542 SPEAKER 3: Might we be civil? 11 00:00:58,333 --> 00:01:01,834 (CROWD CHEERING) 12 00:01:01,917 --> 00:01:05,625 (CHANTING) Tina! Tina! Tina! Tina! 13 00:01:09,000 --> 00:01:11,041 TINA TURNER: Well, hey, everybody! 14 00:01:11,125 --> 00:01:12,709 (CROWD CHEERING) 15 00:01:12,792 --> 00:01:15,917 TINA: Come on, give it to me. I said hi, everybody! 16 00:01:16,000 --> 00:01:17,750 (CROWD CHEERING LOUDER) 17 00:01:17,834 --> 00:01:20,125 Let me hear you say, "ow!" 18 00:01:20,208 --> 00:01:21,542 CROWD: Ow! 19 00:01:21,625 --> 00:01:25,000 ♪ ("ASK ME HOW I FEEL" BY TINA TURNER PLAYING) ♪ 20 00:01:41,083 --> 00:01:44,750 (SINGING) ♪ Oh, waiting in the storm ♪ 21 00:01:44,834 --> 00:01:47,208 ♪ Ask me how I feel ♪ 22 00:01:47,291 --> 00:01:49,500 ♪ When things are going wrong ♪ 23 00:01:49,583 --> 00:01:51,875 ♪ Ask me how I feel ♪ 24 00:01:51,959 --> 00:01:54,083 ♪ The night is awful cold ♪ 25 00:01:54,166 --> 00:01:56,083 ♪ Ask me how I feel ♪ 26 00:01:56,166 --> 00:01:58,750 ♪ You're much too loose To hold ♪ 27 00:01:58,834 --> 00:02:02,291 ♪ Ask me how I feel ♪ 28 00:02:02,375 --> 00:02:04,500 ♪ You don't treat me tender ♪ 29 00:02:04,583 --> 00:02:07,125 ♪ No matter what I do ♪ 30 00:02:07,208 --> 00:02:09,458 ♪ I'm the great pretender ♪ 31 00:02:09,542 --> 00:02:12,959 ♪ Whoa, oh, oh, oh, oh ♪ 32 00:02:13,041 --> 00:02:15,375 ♪ Waiting in the storm ♪ 33 00:02:15,458 --> 00:02:17,291 ♪ Ask me how I feel ♪ 34 00:02:17,375 --> 00:02:19,625 ♪ When things are going wrong ♪ 35 00:02:19,709 --> 00:02:22,000 ♪ You gotta ask me how I feel ♪ 36 00:02:22,083 --> 00:02:24,625 BACKING SINGERS: (SINGING) ♪ When the night is awful cold ♪ 37 00:02:24,709 --> 00:02:26,542 TINA: ♪ Ask me how I feel ♪ 38 00:02:26,625 --> 00:02:28,875 BACKING SINGERS: ♪ You know You're much too loose to hold ♪ 39 00:02:28,959 --> 00:02:30,834 TINA: ♪ Come on And ask me how I feel ♪ 40 00:02:30,917 --> 00:02:32,417 ♪ (SONG FADES) ♪ 41 00:02:32,500 --> 00:02:35,542 ♪ (MELANCHOLIC MUSIC PLAYING) ♪ 42 00:02:39,792 --> 00:02:41,625 INTERVIEWER 1: I wondered sometimes 43 00:02:41,709 --> 00:02:45,583 if anyone has approached you to do the story of your life, 44 00:02:45,667 --> 00:02:47,500 which is indeed fantastic. 45 00:02:47,583 --> 00:02:48,875 TINA: (CHUCKLES) Yes. 46 00:02:48,959 --> 00:02:50,875 But I don't want to play the part. 47 00:02:50,959 --> 00:02:52,208 I've done it. 48 00:02:52,291 --> 00:02:54,208 INTERVIEWER 1: Who else could play the part of Tina Turner? 49 00:02:54,291 --> 00:02:56,917 TINA: We'll find someone. (LAUGHS) 50 00:02:57,000 --> 00:03:00,166 I just really don't want to play the part, you know what I mean? 51 00:03:00,250 --> 00:03:01,458 No, you don't know what I mean 52 00:03:01,542 --> 00:03:03,250 'cause you'd have to know me to know. 53 00:03:03,333 --> 00:03:06,709 It was just so unlike me, my life, 54 00:03:06,792 --> 00:03:09,208 that I don't want anyone to know about it, I mean... 55 00:03:09,291 --> 00:03:11,542 INTERVIEWER 1: You mean it'd be too painful or too-- 56 00:03:11,625 --> 00:03:14,166 TINA: Ah, it wasn't a-- It wasn't-- 57 00:03:14,250 --> 00:03:15,500 It wasn't a good life. 58 00:03:15,583 --> 00:03:16,917 It was in some areas, 59 00:03:17,000 --> 00:03:19,041 but the goodness did not balance the bad. 60 00:03:19,125 --> 00:03:21,959 So it's like not-- not wanting to be reminded. 61 00:03:22,041 --> 00:03:23,667 You don't like to pull out old clothes, you know? 62 00:03:23,750 --> 00:03:25,583 -INTERVIEWER 1: Uh-huh. -TINA: It's like old memories, 63 00:03:25,667 --> 00:03:27,667 you wanna just leave that in the past and done with, 64 00:03:27,750 --> 00:03:29,542 and a lot of things you don't really wanna say, 65 00:03:29,625 --> 00:03:32,166 but there comes a time when you do have to say it. 66 00:03:32,250 --> 00:03:36,000 ♪ (MELANCHOLIC MUSIC CONTINUES) ♪ 67 00:03:53,125 --> 00:03:57,041 ♪ (MUSIC FADES) ♪ 68 00:03:57,125 --> 00:03:59,667 CAMERA ASSISTANT: This is interview one, take one. 69 00:03:59,750 --> 00:04:01,709 (CLAPPERBOARD SNAPS) 70 00:04:01,792 --> 00:04:03,875 PRODUCER: In 1981, you did this interview 71 00:04:03,959 --> 00:04:07,250 with People magazine where, for the first time, really, 72 00:04:07,333 --> 00:04:10,000 you spoke openly about your past with Ike. 73 00:04:10,083 --> 00:04:11,250 Yeah. 74 00:04:11,333 --> 00:04:12,917 PRODUCER: And I'm curious if you can remember at all 75 00:04:13,000 --> 00:04:16,583 any of the thoughts you had around the decision 76 00:04:16,667 --> 00:04:19,959 -to be public about that? -About my past? 77 00:04:20,041 --> 00:04:22,250 PRODUCER: About your past, but also, I guess, 78 00:04:22,333 --> 00:04:26,542 -about the abuse specifically. -Yeah. Yeah, that was quite... 79 00:04:26,625 --> 00:04:28,709 nerve-racking. Actually, I called my psychic 80 00:04:28,792 --> 00:04:31,250 and I said, "What's gonna happen?" 81 00:04:31,333 --> 00:04:36,125 'Cause I was really apprehensive about giving the story away, 82 00:04:36,208 --> 00:04:40,917 because it was telling, it was really telling. 83 00:04:41,000 --> 00:04:42,875 And she said, "No, Tina, 84 00:04:42,959 --> 00:04:45,333 it's going to do just the opposite. 85 00:04:45,417 --> 00:04:47,750 It's gonna break everything wide open." 86 00:04:47,834 --> 00:04:49,458 CARL ARRINGTON: In the early eighties, 87 00:04:49,542 --> 00:04:53,041 being in People magazine was the equivalent of going viral. 88 00:04:53,125 --> 00:04:55,291 We had 30 million readers, 89 00:04:55,375 --> 00:04:58,291 and if somebody wanted to reach a lot of people, 90 00:04:58,375 --> 00:05:03,125 there was really no bigger place to go than People magazine. 91 00:05:03,208 --> 00:05:06,875 I was the music editor of People magazine for many years, 92 00:05:06,959 --> 00:05:11,709 uh, and this is the December 7th, 1981 issue, 93 00:05:11,792 --> 00:05:15,166 when Tina decided to tell her story. 94 00:05:15,250 --> 00:05:17,500 And it was the first time she'd told the story 95 00:05:17,583 --> 00:05:19,041 in public to a journalist. 96 00:05:19,875 --> 00:05:22,125 So, um, this is the story. 97 00:05:22,208 --> 00:05:25,375 I reported it and wrote it for People magazine. 98 00:05:27,542 --> 00:05:31,291 This is, uh, the picture of Tina. 99 00:05:31,375 --> 00:05:37,500 (READS HEADLINE OUT LOUD) 100 00:05:37,583 --> 00:05:40,875 "Tina Turner remains rock's original Jagger, 101 00:05:40,959 --> 00:05:44,166 a primitive force who, glittering in sequins 102 00:05:44,250 --> 00:05:46,083 and a gold chain miniskirt, 103 00:05:46,166 --> 00:05:49,583 typically assaults the stage in mid-scream 104 00:05:49,667 --> 00:05:52,583 with both legs pumping, hips grinding, 105 00:05:52,667 --> 00:05:56,083 long mane whirling, and her mouth wrapped around 106 00:05:56,166 --> 00:05:59,333 some of the sexiest sounds ever set to music. 107 00:05:59,417 --> 00:06:03,208 More than five years have passed since Tina's bitter break 108 00:06:03,291 --> 00:06:07,083 with Ike Turner, her long-time husband, sideman, 109 00:06:07,166 --> 00:06:09,667 and music collaborator on such classics 110 00:06:09,750 --> 00:06:13,000 as 'Proud Mary' and 'Come Together.' 111 00:06:13,083 --> 00:06:16,083 Only now is Tina able to discuss 112 00:06:16,166 --> 00:06:19,041 what she claims were the harrowing events 113 00:06:19,125 --> 00:06:20,917 leading up to their split." 114 00:06:22,709 --> 00:06:24,875 TINA: (ARCHIVAL) I lived 16 years with a man 115 00:06:24,959 --> 00:06:27,875 that I knew there was no way I could ever be happy with, 116 00:06:27,959 --> 00:06:30,458 but I felt that I had to stay there. 117 00:06:30,542 --> 00:06:31,834 ARRINGTON: Mm-hmm. 118 00:06:31,917 --> 00:06:33,834 TINA: You have to believe me, now, when I tell you something. 119 00:06:33,917 --> 00:06:36,667 My ex-husband was a physically violent man. 120 00:06:36,750 --> 00:06:38,959 I went through basic torture. 121 00:06:39,041 --> 00:06:41,709 ARRINGTON: Torture? You would say-- you would call it torture? 122 00:06:41,792 --> 00:06:43,709 TINA: I-- To me it was. 123 00:06:43,792 --> 00:06:46,125 A lot of people don't know, and your magazine 124 00:06:46,208 --> 00:06:49,625 will probably be the first to make it publicly known. 125 00:06:50,458 --> 00:06:52,959 I was living a life of death. 126 00:06:53,625 --> 00:06:55,667 I didn't exist. 127 00:06:55,750 --> 00:06:57,417 -But I survived it. -ARRINGTON: Hm. 128 00:06:57,500 --> 00:07:00,083 TINA: And when I walked out, I walked. 129 00:07:00,166 --> 00:07:01,667 And I didn't look back. 130 00:07:04,166 --> 00:07:07,208 ARRINGTON: (PRESENT) People choose to tell their story 131 00:07:07,291 --> 00:07:09,041 for lots of different reasons. 132 00:07:09,125 --> 00:07:10,709 I think she told me so much 133 00:07:10,792 --> 00:07:12,917 because she wanted to just tell it 134 00:07:13,000 --> 00:07:14,709 and then forget it. 135 00:07:14,792 --> 00:07:16,458 It didn't quite work out that way 136 00:07:16,542 --> 00:07:21,208 because now that story is a great mark of her life. 137 00:07:28,208 --> 00:07:30,000 SAM RIDDLE: Ladies and gentlemen, 138 00:07:30,083 --> 00:07:32,917 -you've seen them live from coast to coast. -(RHYTHMIC CLAPPING) 139 00:07:33,000 --> 00:07:35,667 Now you're about to see them all together 140 00:07:35,750 --> 00:07:38,500 for the very first time on national television. 141 00:07:38,583 --> 00:07:41,458 Hollywood A Go-Go presents the fantastic 142 00:07:41,542 --> 00:07:44,709 -Ike and Tina Turner Revue! -(CHEERING AND APPLAUSE) 143 00:07:44,792 --> 00:07:49,375 ♪ ("GIMME SOME LOVING/ SWEET SOUL MUSIC" MEDLEY PLAYS) ♪ 144 00:08:07,542 --> 00:08:09,709 ♪ (MUSIC CONTINUES) ♪ 145 00:08:14,875 --> 00:08:17,625 LE'JEUNE FLETCHER: When I was a teenager back in the sixties, 146 00:08:17,709 --> 00:08:20,542 I knew of their record that they had out, 147 00:08:20,625 --> 00:08:24,375 but I had never seen them. And then they came on TV, 148 00:08:24,458 --> 00:08:26,125 and I saw her dancing. 149 00:08:26,208 --> 00:08:28,166 And that's all I could look at. 150 00:08:28,250 --> 00:08:32,875 I was just so amazed at this woman! 151 00:08:32,959 --> 00:08:34,750 ♪ (MUSIC CONTINUES) ♪ 152 00:08:39,125 --> 00:08:41,417 OPRAH WINFREY: I remember standing there watching her 153 00:08:41,500 --> 00:08:42,917 and saying, 154 00:08:43,000 --> 00:08:44,875 "Whatever that is, 155 00:08:44,959 --> 00:08:47,000 I want some of that." 156 00:08:47,083 --> 00:08:48,500 I got the spirit. 157 00:08:48,583 --> 00:08:51,959 It's no different than being in a church 158 00:08:52,041 --> 00:08:55,000 where you are moved and stirred to the point 159 00:08:55,083 --> 00:08:56,792 where you could feel it inside yourself. 160 00:08:56,875 --> 00:08:58,667 ♪ ("SWEET SOUL MUSIC" BY IKE AND TINA TURNER PLAYING) ♪ 161 00:08:58,750 --> 00:09:00,959 (SINGING) ♪ Do you like good music? ♪ 162 00:09:01,917 --> 00:09:03,667 ♪ Sweet soul music ♪ 163 00:09:04,625 --> 00:09:06,458 ♪ Long as it's swingin' ♪ 164 00:09:07,458 --> 00:09:09,542 ♪ Yeah, yeah ♪ 165 00:09:09,625 --> 00:09:11,792 ♪ Get out here on the floor Y'all ♪ 166 00:09:12,792 --> 00:09:15,208 ♪ Dancing to a go-go ♪ 167 00:09:15,291 --> 00:09:17,291 ♪ And dancing to the music ♪ 168 00:09:18,375 --> 00:09:20,333 ♪ Yeah, yeah ♪ 169 00:09:20,417 --> 00:09:23,000 ♪ Spotlight is on me, y'all ♪ 170 00:09:23,083 --> 00:09:25,166 ♪ And I'm having A ball, y'all... ♪ 171 00:09:25,250 --> 00:09:28,875 ANGELA BASSETT: Back then, you had the whole Motown Revue, 172 00:09:28,959 --> 00:09:31,625 you had Diana Ross, Mary Wells, 173 00:09:31,709 --> 00:09:34,417 the Temptations in these Italian suits, 174 00:09:34,500 --> 00:09:37,875 and were putting forth an image of sophistication. 175 00:09:37,959 --> 00:09:39,375 And they were all... 176 00:09:39,458 --> 00:09:40,500 (HUMS QUIETLY) 177 00:09:40,583 --> 00:09:43,792 ...that kind of stuff, and Tina was more, "yeah!" 178 00:09:43,875 --> 00:09:47,875 That kind of stuff, it's wild, it's your sensuality, 179 00:09:47,959 --> 00:09:49,792 your sexuality, and it's in your face. 180 00:09:49,875 --> 00:09:51,583 TINA: (SINGING) ♪ Dancing to a go-go ♪ 181 00:09:51,667 --> 00:09:54,166 ♪ And dancing to the music ♪ 182 00:09:54,250 --> 00:09:55,709 INTERVIEWER 2: Did you ever study dancing? 183 00:09:55,792 --> 00:09:56,917 -No. -INTERVIEWER 2: No? 184 00:09:57,000 --> 00:09:59,083 And what about-- what about music, uh, singing? 185 00:09:59,166 --> 00:10:00,417 No, no music at all. 186 00:10:00,500 --> 00:10:02,166 Everything is just natural for me. 187 00:10:02,250 --> 00:10:03,542 I'm a performer. 188 00:10:03,625 --> 00:10:07,375 And I sing and Ike does the, uh, the managing and producing. 189 00:10:09,083 --> 00:10:12,750 It was Ike's band, but he knew 190 00:10:12,834 --> 00:10:16,458 that in order to-- to be a number one, 191 00:10:16,542 --> 00:10:20,333 he needed Tina, 'cause Tina was the shining star. 192 00:10:28,583 --> 00:10:30,792 ♪ (SONG CONCLUDES) ♪ 193 00:10:30,875 --> 00:10:33,375 (CHEERING AND APPLAUSE) 194 00:10:37,000 --> 00:10:39,709 (INDISTINCT CHATTER) 195 00:10:41,917 --> 00:10:43,667 TINA: (ARCHIVAL) 196 00:10:44,542 --> 00:10:46,542 ARRINGTON: 197 00:10:47,000 --> 00:10:49,875 TINA: 198 00:10:56,250 --> 00:10:58,750 ♪ ("BOXTOP" BY IKE TURNER PLAYING) ♪ 199 00:10:58,834 --> 00:11:00,375 ♪ Box top ♪ 200 00:11:00,917 --> 00:11:01,959 ♪ Let's rock ♪ 201 00:11:02,041 --> 00:11:04,125 ♪ Don't let it stop ♪ 202 00:11:04,208 --> 00:11:05,834 ♪ You bet not ♪ 203 00:11:05,917 --> 00:11:08,083 ♪ Oh, box top... ♪ 204 00:11:08,166 --> 00:11:11,417 TINA: (ARCHIVAL) 205 00:11:14,041 --> 00:11:15,709 ♪ (SONG CONTINUES) ♪ 206 00:11:25,417 --> 00:11:28,542 ♪ (SONG CONTINUES) ♪ 207 00:11:35,959 --> 00:11:37,041 (SCOFFS) 208 00:11:52,333 --> 00:11:57,750 TINA: (SINGING) ♪ He gave ♪ 209 00:11:58,375 --> 00:12:01,583 ♪ Me a mother ♪ 210 00:12:02,917 --> 00:12:06,166 ♪ And he gave me ♪ 211 00:12:06,250 --> 00:12:09,667 ♪ A father too ♪ 212 00:12:10,625 --> 00:12:13,834 ♪ He gave ♪ 213 00:12:13,917 --> 00:12:17,667 ♪ Yes, gave me everything ♪ 214 00:12:18,375 --> 00:12:21,583 ♪ And then he gave ♪ 215 00:12:22,250 --> 00:12:25,667 ♪ He gave me you ♪ 216 00:12:26,500 --> 00:12:29,458 ♪ He gave... ♪ 217 00:12:29,959 --> 00:12:32,000 TINA: (ARCHIVAL) 218 00:12:40,333 --> 00:12:42,917 -ARRINGTON: -TINA: 219 00:12:43,000 --> 00:12:45,417 TINA: (SINGING) ♪ He gave ♪ 220 00:12:45,500 --> 00:12:47,625 ♪ Yes, gave me everything... ♪ 221 00:12:47,709 --> 00:12:49,625 TINA: (ARCHIVAL) 222 00:13:02,333 --> 00:13:04,917 (SINGING) ♪ Could I want... ♪ 223 00:13:05,000 --> 00:13:07,583 JIMMY THOMAS: He was like her hero, 224 00:13:07,667 --> 00:13:09,291 like a big brother. 225 00:13:09,375 --> 00:13:12,041 And he seen her like a little sister. 226 00:13:12,125 --> 00:13:14,834 That relationship was very beautiful, 227 00:13:14,917 --> 00:13:16,208 it really was. 228 00:13:17,750 --> 00:13:21,709 TINA: 229 00:13:31,083 --> 00:13:34,125 TINA: (SINGING) ♪ He gave Me strength to love with... ♪ 230 00:13:34,208 --> 00:13:35,792 TINA: (PRESENT) I wasn't thinking of... 231 00:13:35,875 --> 00:13:38,625 "I'll go to St. Louis, and I'll start singing, 232 00:13:38,709 --> 00:13:40,375 and I'll be a star." 233 00:13:41,208 --> 00:13:44,583 I was young, naive, 234 00:13:44,667 --> 00:13:46,417 just a country girl, 235 00:13:46,500 --> 00:13:51,125 and everything just opened up to me. 236 00:13:51,208 --> 00:13:54,375 TINA: (SINGING) ♪ And most of all ♪ 237 00:13:55,083 --> 00:13:58,417 ♪ He gave me you ♪ 238 00:13:58,500 --> 00:14:00,667 INTERVIEWER 3: Tina, you started your musical career 239 00:14:00,750 --> 00:14:02,583 in a church choir in your hometown. 240 00:14:02,667 --> 00:14:05,834 Do you consider your musical roots to be Black gospel? 241 00:14:05,917 --> 00:14:10,041 Oh, yes, certainly. Black gospel, blues, 242 00:14:10,125 --> 00:14:13,041 BB King's music was our radio during that time. 243 00:14:13,125 --> 00:14:14,709 INTERVIEWER 3: Mm-hmm. What kind of songs 244 00:14:14,792 --> 00:14:17,041 were you singing as a member of the church choir? 245 00:14:17,125 --> 00:14:22,333 (LAUGHS) Well, we called them-- Well, it was a Baptist church, 246 00:14:22,417 --> 00:14:25,375 and they were just spiritual songs, um... 247 00:14:25,458 --> 00:14:30,166 songs about, you know, love, and, um, giving, 248 00:14:30,250 --> 00:14:32,208 and, uh, and, uh... 249 00:14:32,291 --> 00:14:35,875 doing all of the right things that make life good. 250 00:14:37,208 --> 00:14:38,542 Those were good times, you know, 251 00:14:38,625 --> 00:14:41,834 to remember all of the church singing and the choir and all. 252 00:14:44,458 --> 00:14:46,583 ♪ (QUIET PIANO MUSIC PLAYING) ♪ 253 00:14:46,667 --> 00:14:49,417 TINA: (PRESENT) When you're in the South, there's nothing... happened 254 00:14:49,500 --> 00:14:52,208 except the church, the piano, the preacher. 255 00:14:52,291 --> 00:14:55,667 During that time, I didn't know about anywhere else, 256 00:14:55,750 --> 00:15:00,041 so seeing Lucille Ball and Loretta Young, 257 00:15:00,125 --> 00:15:02,709 all the beautiful ladies of Hollywood, 258 00:15:02,792 --> 00:15:08,291 they were a role model for a performer. 259 00:15:08,375 --> 00:15:11,875 But I didn't think that I would actually achieve that, 260 00:15:11,959 --> 00:15:13,834 because, first, I wasn't pretty, 261 00:15:13,917 --> 00:15:16,792 and I didn't have the clothes, I didn't have the means. 262 00:15:19,542 --> 00:15:22,458 TINA: (ARCHIVAL) I remember the first Vogue magazine that I saw, 263 00:15:22,542 --> 00:15:26,750 and I remember my first French poster of Champs-Élysées, 264 00:15:26,834 --> 00:15:31,417 uh, the Eiffel Tower, and the-- the very-- very French woman. 265 00:15:31,500 --> 00:15:33,417 I was like, "Ah, that's what I want! 266 00:15:33,500 --> 00:15:36,166 The world. That's where I wanna go." 267 00:15:41,208 --> 00:15:43,375 KURT LODER: I got the impression from her, she always felt 268 00:15:43,458 --> 00:15:47,041 a little bit of out of time or a little bit out of place. 269 00:15:47,125 --> 00:15:50,083 I didn't think she ever felt like people understood her 270 00:15:50,166 --> 00:15:52,542 or really liked her for who she was. 271 00:15:52,625 --> 00:15:54,458 And the talent she had, 272 00:15:54,542 --> 00:15:55,875 she finally learned that she had, 273 00:15:55,959 --> 00:15:58,875 can win you a lot of people who will recognize who you are 274 00:15:58,959 --> 00:16:01,875 and will become like your-- your real family, 275 00:16:02,375 --> 00:16:03,542 uh, or try to. 276 00:16:04,667 --> 00:16:06,917 INTERVIEWER 4: Ike, first of all, if we can-- 277 00:16:07,000 --> 00:16:09,250 if we can kinda go back a long way 278 00:16:09,333 --> 00:16:10,709 to when you were a young man, 279 00:16:10,792 --> 00:16:13,000 a lot of people credit you with doing 280 00:16:13,083 --> 00:16:15,792 the first ever rock and roll record, "Rocket 88." 281 00:16:15,875 --> 00:16:17,792 -Yeah, that was in 1951. -INTERVIEWER 4: Yeah. 282 00:16:17,875 --> 00:16:20,041 How did-- how did that thing happen? 283 00:16:20,125 --> 00:16:22,542 Well... (CLEARS THROAT) I lived in Clarksdale, Mississippi, 284 00:16:22,625 --> 00:16:25,458 which is actually 61 miles from Memphis, 285 00:16:25,542 --> 00:16:29,166 and BB King, uh, my mother, she practically raised him, you know? 286 00:16:29,250 --> 00:16:32,291 And, um, one night, we was coming from Chambers, Mississippi, playing, 287 00:16:32,375 --> 00:16:33,625 and, uh, BB, I asked him, I said, 288 00:16:33,709 --> 00:16:35,792 "Man, can we play a song?" And he said-- he said, "Yeah." 289 00:16:35,875 --> 00:16:38,083 So he let my band play one number, so anyway, 290 00:16:38,166 --> 00:16:40,125 he said, "Man, you guys should be recording." 291 00:16:40,208 --> 00:16:42,458 And, man, we didn't have any material, so on the way up, 292 00:16:42,542 --> 00:16:45,125 we decided to write this song, and that's when I wrote the song "Rocket 88." 293 00:16:45,208 --> 00:16:46,917 ♪ ("ROCKET 88" BY JACKIE BRENSTON PLAYING) ♪ 294 00:16:47,000 --> 00:16:48,333 ♪ You women Have heard of jalopies ♪ 295 00:16:48,417 --> 00:16:49,792 ♪ You've heard The noise they make ♪ 296 00:16:49,875 --> 00:16:52,959 ♪ But let me introduce My new Rocket 88 ♪ 297 00:16:53,041 --> 00:16:56,166 ♪ Yes, it's straight Just won't wait ♪ 298 00:16:56,250 --> 00:16:59,000 ♪ Everybody likes My Rocket 88 ♪ 299 00:16:59,083 --> 00:17:01,041 ♪ Baby, we'll ride in style ♪ 300 00:17:01,125 --> 00:17:03,709 ♪ Moving all along ♪ 301 00:17:04,917 --> 00:17:07,333 LODER: Ike Turner is a very important part 302 00:17:07,417 --> 00:17:09,458 of R&B history. Everybody relied on him 303 00:17:09,542 --> 00:17:12,834 'cause he really knew music, and he scored a real hit record 304 00:17:12,917 --> 00:17:15,875 with a song in 1951 called "Rocket 88." 305 00:17:15,959 --> 00:17:18,208 People say it's the first rock and roll record. 306 00:17:18,291 --> 00:17:20,333 And when it comes out, Chess has credited it 307 00:17:20,417 --> 00:17:22,709 to Jackie Brenston and his Delta Cats. 308 00:17:22,792 --> 00:17:24,709 Ike Turner did that song, you know. 309 00:17:24,792 --> 00:17:26,208 He made everything about it happen, 310 00:17:26,291 --> 00:17:28,542 and it's credited to one of his saxophone players. 311 00:17:28,625 --> 00:17:30,709 Imagine how he feels about this? 312 00:17:30,792 --> 00:17:32,917 And I think that's the story of his career. 313 00:17:33,000 --> 00:17:34,625 I think he became paranoid about that, 314 00:17:34,709 --> 00:17:37,208 he said, "People are always trying to rip me off." 315 00:17:37,291 --> 00:17:39,792 RHONDA GRAAM: He was always obsessed on it. 316 00:17:39,875 --> 00:17:43,083 "Everybody leaves me. I make 'em, you know, popular 317 00:17:43,166 --> 00:17:45,709 and get a hit record and everything for them, 318 00:17:45,792 --> 00:17:46,834 and they all leave me." 319 00:17:50,041 --> 00:17:51,625 TINA: (PRESENT) Ike had a problem 320 00:17:51,709 --> 00:17:53,542 of writing songs for people 321 00:17:53,625 --> 00:17:55,125 and they would leave, 322 00:17:55,208 --> 00:17:57,625 and I promised him that I wouldn't leave him. 323 00:17:59,542 --> 00:18:01,750 In those days, a promise is a promise. 324 00:18:05,458 --> 00:18:07,291 ARRINGTON: (ARCHIVAL) 325 00:18:07,834 --> 00:18:09,583 TINA: (ARCHIVAL) 326 00:18:09,667 --> 00:18:11,083 -ARRINGTON: -TINA: 327 00:18:11,166 --> 00:18:12,208 ARRINGTON: Bullock. 328 00:18:13,291 --> 00:18:15,000 ARRINGTON: 329 00:18:15,083 --> 00:18:16,667 (APPLAUSE) 330 00:18:16,750 --> 00:18:19,458 ♪ ("A FOOL IN LOVE" BY IKE AND TINA TURNER PLAYING) ♪ 331 00:18:19,542 --> 00:18:23,125 TINA: (SINGING) ♪ Ooh ♪ 332 00:18:24,458 --> 00:18:28,000 ♪ There's something on my mind ♪ 333 00:18:28,709 --> 00:18:32,625 ♪ Won't somebody please ♪ 334 00:18:32,709 --> 00:18:37,417 ♪ Please tell me what's wrong ♪ 335 00:18:37,500 --> 00:18:41,250 -♪ You're just a fool You know you're in love ♪ -♪ What you say? ♪ 336 00:18:41,333 --> 00:18:44,709 -♪ You've got to face it To let it explode ♪ -♪ Hey, hey, hey, hey, hey ♪ 337 00:18:44,792 --> 00:18:48,375 -♪ You take the good Along with the bad ♪ -♪ Yeah, hey, yeah ♪ 338 00:18:48,458 --> 00:18:51,000 ♪ Sometimes you're happy And sometimes you're sad ♪ 339 00:18:51,083 --> 00:18:52,792 ♪ One more time ♪ 340 00:18:52,875 --> 00:18:55,125 -♪ You know you love him You can't understand ♪ -♪ Tell me about it now ♪ 341 00:18:55,208 --> 00:18:58,875 ♪ Why he treats you like he do When he's such a good man... ♪ 342 00:18:58,959 --> 00:19:00,166 TINA: (PRESENT) I finished school, 343 00:19:00,250 --> 00:19:03,291 and I went to a recording studio and I did a demo, 344 00:19:03,375 --> 00:19:05,250 and that's when the hit record came. 345 00:19:06,291 --> 00:19:09,625 ♪ Oh, now I must be a fool ♪ 346 00:19:09,709 --> 00:19:11,959 ♪ 'Cause I'll do anything He wants me to do ♪ 347 00:19:12,041 --> 00:19:14,208 -♪ Now tell me how it goes ♪ -♪ You're just a fool ♪ 348 00:19:14,291 --> 00:19:16,667 -♪ You know you're in love ♪ -♪ Yeah, one more time ♪ 349 00:19:16,750 --> 00:19:19,291 ♪ You've got to face it To let it explode ♪ 350 00:19:19,375 --> 00:19:20,834 ♪ Yeah, yeah, yeah, yeah, yeah ♪ 351 00:19:20,917 --> 00:19:22,625 TINA: (PRESENT) Ike came in and he said, you know, 352 00:19:22,709 --> 00:19:24,417 "The people in New York are very excited. 353 00:19:24,500 --> 00:19:26,792 We got a hit record." He was very excited, you know. 354 00:19:26,875 --> 00:19:29,208 And then there was a contract started coming in. 355 00:19:29,291 --> 00:19:31,291 ♪ (SOMBER MUSIC PLAYING) ♪ 356 00:19:32,417 --> 00:19:35,333 TINA: I was very ignorant to show business. 357 00:19:35,417 --> 00:19:37,792 I didn't have any idea what it was about. 358 00:19:40,792 --> 00:19:42,583 THOMAS: She really was young. 359 00:19:44,083 --> 00:19:48,792 She never had no ambition to be some kind of superstar, 360 00:19:48,875 --> 00:19:52,208 but she-- when she sang, she just-- she just had it. 361 00:19:53,875 --> 00:19:56,166 And Ike exploited it. 362 00:19:56,250 --> 00:19:59,166 He had to make sure he was gonna get his this time, 363 00:19:59,250 --> 00:20:01,750 so he makes sure that his name is on it. 364 00:20:01,834 --> 00:20:03,792 GRAAM: And that's when he put the whole show together, 365 00:20:03,875 --> 00:20:05,125 the Ike and Tina Turner Revue, 366 00:20:05,208 --> 00:20:07,375 and gave her the name Tina Turner. 367 00:20:09,458 --> 00:20:13,792 TINA: (ARCHIVAL) 368 00:20:18,792 --> 00:20:22,208 GRAAM: Sheena, Queen of the Jungle, it was a TV series. 369 00:20:22,291 --> 00:20:24,875 "Tina" and "Sheena," I guess it just sounded close to him, 370 00:20:24,959 --> 00:20:28,000 and it sounded good, "Ike and Tina Revue," 371 00:20:28,083 --> 00:20:30,000 as a whole entity. 372 00:20:30,083 --> 00:20:32,041 So he changed it, didn't even ask her, 373 00:20:32,125 --> 00:20:33,875 she didn't know anything about it. 374 00:20:33,959 --> 00:20:37,250 ♪ (SOMBER MUSIC CONTINUES) ♪ 375 00:20:41,875 --> 00:20:44,250 THOMAS: Tina was the gold mine, he knew that. 376 00:20:46,333 --> 00:20:48,750 He created this Frankenstein thing, 377 00:20:48,834 --> 00:20:51,458 and he had to control her. 378 00:20:51,542 --> 00:20:55,166 So he had to change that thing from, "being my little sister, 379 00:20:55,250 --> 00:20:57,542 no, no, you've gotta be my wife now." 380 00:20:57,625 --> 00:20:58,750 Boom. 381 00:20:58,834 --> 00:21:01,500 ♪ (SOMBER MUSIC CONTINUES) ♪ 382 00:21:22,333 --> 00:21:24,458 TINA: (ARCHIVAL) 383 00:22:36,709 --> 00:22:38,792 (INAUDIBLE) 384 00:22:49,333 --> 00:22:51,834 GRAAM: You'd never know from one minute to the next, 385 00:22:51,917 --> 00:22:53,208 Ike could be having a good time, 386 00:22:53,291 --> 00:22:54,834 and everybody was having a good time, 387 00:22:54,917 --> 00:22:56,750 and it could just flip in a second. 388 00:22:56,834 --> 00:22:59,166 And I think, with-- with women, I think, you know, 389 00:22:59,250 --> 00:23:01,709 he figured he had the upper hand. 390 00:23:01,792 --> 00:23:04,959 And especially like with Tina, you know, that was like... 391 00:23:06,291 --> 00:23:09,208 I think him instilling in her, 392 00:23:09,291 --> 00:23:10,875 "You'd better be good, or, you know, 393 00:23:10,959 --> 00:23:13,041 I'm gonna beat the shit out of you." 394 00:23:13,125 --> 00:23:16,083 And did on many occasions, you know, I mean, 395 00:23:16,166 --> 00:23:19,792 and for no reason, a lot of times, it was just... 396 00:23:21,125 --> 00:23:22,291 I really don't know. 397 00:23:22,375 --> 00:23:24,583 I don't think he knows a lot of the time. 398 00:23:28,875 --> 00:23:31,208 TINA: (ARCHIVAL) I felt obligated to stay there, 399 00:23:31,291 --> 00:23:32,709 and I was afraid. 400 00:23:32,792 --> 00:23:34,375 And I stayed. That was just how it was. 401 00:23:34,458 --> 00:23:37,041 I felt very loyal to Ike, and I didn't wanna hurt him. 402 00:23:37,125 --> 00:23:39,208 I mean, sometimes, like, after he'd beat me up, 403 00:23:39,291 --> 00:23:40,667 I'd end up feeling sorry for him, 404 00:23:40,750 --> 00:23:41,750 and why am I feeling sorry? 405 00:23:41,834 --> 00:23:43,250 I'm sitting here all bruised and torn, 406 00:23:43,333 --> 00:23:45,208 and then all of a sudden I'm feeling sorry for him, 407 00:23:45,291 --> 00:23:47,709 you know? Little things like that. 408 00:23:47,792 --> 00:23:49,667 I was 23 years old or something, you know, 409 00:23:49,750 --> 00:23:52,417 I mean, early twenties. I was just all-- 410 00:23:52,500 --> 00:23:54,834 How do you call it when someone brainwashes you like this? 411 00:23:54,917 --> 00:23:56,917 -ARRINGTON: Brainwashed. -TINA: Maybe I was brainwashed. 412 00:23:57,000 --> 00:23:59,250 Yeah, I was-- I was afraid of him... 413 00:23:59,333 --> 00:24:02,417 and, um, I cared what happened to him, 414 00:24:02,500 --> 00:24:05,166 and I knew that if I left, there was no one to sing. 415 00:24:05,250 --> 00:24:08,458 So I was caught up in guilt and fear. 416 00:24:08,542 --> 00:24:10,917 Yeah, those are the two worst qualities, I think, 417 00:24:11,000 --> 00:24:13,375 for a young girl to be caught up into. 418 00:24:13,458 --> 00:24:16,125 ♪ (OMINOUS MUSIC PLAYING) ♪ 419 00:24:18,667 --> 00:24:19,917 (CHEERING AND APPLAUSE) 420 00:24:20,041 --> 00:24:23,417 ANNOUNCER 1: And now let's go with Ike and Tina Turner! 421 00:24:23,500 --> 00:24:27,709 ♪ ("SHAKE" BY IKE AND TINA TURNER PLAYING) ♪ 422 00:24:34,166 --> 00:24:36,458 ♪ Listen while I talk to you ♪ 423 00:24:36,542 --> 00:24:38,959 ♪ I'll tell you What I'm gonna do ♪ 424 00:24:39,041 --> 00:24:41,500 ♪ There's a new dance That's going around ♪ 425 00:24:41,583 --> 00:24:44,291 ♪ I wanna tell you What they're putting down ♪ 426 00:24:44,375 --> 00:24:46,500 ♪ Just move your body All around ♪ 427 00:24:46,583 --> 00:24:47,583 ♪ Shake ♪ 428 00:24:47,667 --> 00:24:49,291 ♪ Oh, baby... ♪ 429 00:24:49,375 --> 00:24:52,875 THOMAS: In those early days, we'd play three shows a night. 430 00:24:52,959 --> 00:24:55,625 Two shows this place, two shows that place 431 00:24:55,709 --> 00:24:58,125 and two shows at the after-hours place. 432 00:24:58,208 --> 00:25:00,166 It was hard work. 433 00:25:00,250 --> 00:25:04,375 FLETCHER: I can remember working as many as four shows a night, 434 00:25:04,458 --> 00:25:07,417 and every night and every show... 435 00:25:07,500 --> 00:25:09,166 -♪ (MUSIC ENDS ABRUPTLY) ♪ -...was packed. 436 00:25:09,250 --> 00:25:10,834 Was packed. 437 00:25:10,917 --> 00:25:13,000 TINA: (ARCHIVAL) Right now, I'm gonna tell you a little something about my man. 438 00:25:13,083 --> 00:25:15,250 ♪ ("MY MAN, HE'S A LOVIN' MAN" BY IKE AND TINA TURNER PLAYING) ♪ 439 00:25:15,333 --> 00:25:17,000 (CROWD CHEERING) 440 00:25:17,083 --> 00:25:20,166 -TINA: ♪ My man ♪ -BACKING SINGERS: ♪ Your man Your man, your man... ♪ 441 00:25:20,250 --> 00:25:22,583 FLETCHER: He rehearsed constantly. 442 00:25:22,667 --> 00:25:25,083 Even sometimes we'd be driving to the next show, 443 00:25:25,166 --> 00:25:27,000 and he'd be playing the guitar in the back 444 00:25:27,083 --> 00:25:30,083 and having Tina sing. I mean, it was 24/7. 445 00:25:30,166 --> 00:25:31,500 LODER: The show has to be perfect. 446 00:25:31,583 --> 00:25:33,333 Every single part of it has to be perfect. 447 00:25:33,417 --> 00:25:35,166 He was one of those guys who would, you know, 448 00:25:35,250 --> 00:25:37,208 turn around on stage and point at somebody, 449 00:25:37,291 --> 00:25:39,166 they know they're getting a ten-dollar fine 450 00:25:39,250 --> 00:25:40,542 'cause they just blew a note. 451 00:25:40,625 --> 00:25:43,333 TINA: ♪ He lets 'em know That he's a one-woman man ♪ 452 00:25:43,417 --> 00:25:44,417 ♪ My man ♪ 453 00:25:44,500 --> 00:25:46,375 BASSETT: She didn't have the glam team, 454 00:25:46,458 --> 00:25:47,917 someone doing the hair and the makeup 455 00:25:48,000 --> 00:25:50,000 and the stylist getting the wardrobe. 456 00:25:50,083 --> 00:25:52,375 They did it all themselves. 457 00:25:52,458 --> 00:25:55,041 -TINA: ♪ My man ♪ -BACKING SINGERS: ♪ Your man, your man, your man ♪ 458 00:25:55,125 --> 00:25:57,500 TINA: ♪ You know He's really all right ♪ 459 00:25:57,583 --> 00:25:59,333 BACKING SINGERS: ♪ Your man, your man, your man ♪ 460 00:25:59,417 --> 00:26:02,208 TINA: ♪ Yeah, yeah, yeah He treats me... ♪ 461 00:26:02,291 --> 00:26:05,792 TINA: (PRESENT) The only freedom I had was when the Ikettes and I 462 00:26:05,875 --> 00:26:09,250 got the dancing ready and I got the dresses ready, 463 00:26:09,333 --> 00:26:10,667 and we'd get everything, 464 00:26:10,750 --> 00:26:12,959 except we didn't even know what song was coming up. 465 00:26:13,041 --> 00:26:16,583 He would, "duh-dum," do it with the guitar, you know? 466 00:26:16,667 --> 00:26:19,333 TINA: ♪ Here in our home My man ♪ 467 00:26:19,417 --> 00:26:21,041 TINA: (PRESENT) It was awful in a way, 468 00:26:21,125 --> 00:26:22,417 but it was a lesson. 469 00:26:22,500 --> 00:26:27,166 Now that I look back, I see it as a training. 470 00:26:27,250 --> 00:26:31,917 You-- you adjust to what is given, 471 00:26:32,000 --> 00:26:34,333 and that is what was given at the time. 472 00:26:34,417 --> 00:26:38,166 ♪ (SOMBER MUSIC PLAYING) ♪ 473 00:26:40,291 --> 00:26:42,417 LODER: He controlled the music, and she had to-- 474 00:26:42,500 --> 00:26:44,333 It was always his music, and it was-- 475 00:26:44,417 --> 00:26:46,917 which is very samey, if you listen to it all the time. 476 00:26:47,000 --> 00:26:49,417 A lot of it's just brilliant. I love those records. 477 00:26:49,500 --> 00:26:50,875 But it's-- it's of a type. 478 00:26:50,959 --> 00:26:53,000 It's one thing. It's Ike Turner's stuff. 479 00:26:53,083 --> 00:26:55,583 And she-- I think she had broader tastes than that. 480 00:26:55,667 --> 00:26:58,709 She must have felt there was more you could do with music than this. 481 00:26:58,792 --> 00:27:00,583 I think she probably had a bigger dream than-- 482 00:27:00,667 --> 00:27:02,625 without knowing it, than he did. 483 00:27:05,000 --> 00:27:07,750 THOMAS: People started to see that there was more to Tina 484 00:27:07,834 --> 00:27:10,333 than what Ike had to offer her. 485 00:27:10,417 --> 00:27:13,750 Especially after the River Deep Mountain High album, 486 00:27:13,834 --> 00:27:15,834 you know, with Phil Spector. 487 00:27:15,917 --> 00:27:17,959 LODER: Phil Spector was the greatest pop record producer 488 00:27:18,041 --> 00:27:19,208 of that period. 489 00:27:19,291 --> 00:27:21,291 He played the studio like an instrument, you know, 490 00:27:21,375 --> 00:27:22,875 and he found all these singers, 491 00:27:22,959 --> 00:27:24,667 and he made these wonderful records. 492 00:27:24,750 --> 00:27:27,667 And when Phil Spector wanted to make River Deep Mountain High, 493 00:27:27,750 --> 00:27:29,834 Ike's presence was not necessary. 494 00:27:29,917 --> 00:27:32,250 Just bring Tina in, 'cause she's the star. 495 00:27:32,333 --> 00:27:33,750 (INDISTINCT CHATTER) 496 00:27:33,834 --> 00:27:37,291 GRAAM: Spector didn't want Ike nowhere near the studio, 497 00:27:37,375 --> 00:27:39,208 so he paid Ike X amount of dollars 498 00:27:39,291 --> 00:27:42,667 to get him taken care of, so to speak, 499 00:27:42,750 --> 00:27:45,417 so that he wasn't-- wouldn't interfere with Tina. 500 00:27:45,500 --> 00:27:48,041 And that was the first time they gave Tina... 501 00:27:49,208 --> 00:27:52,166 her chance to sing differently. 502 00:27:52,250 --> 00:27:54,583 -♪ (MUSIC PLAYING) ♪ -(PHIL SPECTOR HUMMING) 503 00:27:54,667 --> 00:27:59,709 TINA: (PRESENT) I remember starting to sing with Phil, 504 00:27:59,792 --> 00:28:03,166 that style of singing which I had been singing. 505 00:28:03,250 --> 00:28:05,000 -TINA: ♪ When I was-- ♪ -♪ (MUSIC STOPS) ♪ 506 00:28:05,083 --> 00:28:06,250 SPECTOR: One more time. 507 00:28:06,333 --> 00:28:08,792 And he said, "No, no, no, no. Just sing the melody." 508 00:28:09,834 --> 00:28:11,667 And I liked that. 509 00:28:11,750 --> 00:28:15,041 That was a freedom that I didn't have. 510 00:28:15,125 --> 00:28:18,792 You know, like a bird that gets out of a cage. 511 00:28:18,875 --> 00:28:21,959 I was excited about singing a different type of song. 512 00:28:22,041 --> 00:28:25,250 I was excited about getting out of the studio on my own. 513 00:28:25,333 --> 00:28:28,583 It was a freedom to do something different. 514 00:28:28,667 --> 00:28:32,125 ♪ ("RIVER DEEP MOUNTAIN HIGH" BY TINA TURNER PLAYING) ♪ 515 00:28:33,875 --> 00:28:36,875 TINA: (SINGING) ♪ When I was a little girl ♪ 516 00:28:36,959 --> 00:28:38,959 ♪ I had a rag doll ♪ 517 00:28:39,792 --> 00:28:42,792 ♪ Only doll I've ever owned ♪ 518 00:28:45,417 --> 00:28:50,917 ♪ Now I love you just the way I loved that rag doll ♪ 519 00:28:51,000 --> 00:28:54,125 ♪ But only now My love has grown ♪ 520 00:28:55,458 --> 00:28:57,667 ♪ And it gets stronger ♪ 521 00:28:58,375 --> 00:29:01,041 ♪ In every way ♪ 522 00:29:01,125 --> 00:29:03,875 ♪ And it gets deeper ♪ 523 00:29:03,959 --> 00:29:06,750 ♪ Let me say ♪ 524 00:29:06,834 --> 00:29:09,333 ♪ And it gets higher ♪ 525 00:29:09,917 --> 00:29:12,917 ♪ Day by day ♪ 526 00:29:13,000 --> 00:29:18,417 ♪ And do I love you My, oh, my ♪ 527 00:29:18,500 --> 00:29:22,667 ♪ Yeah, river deep Mountain high ♪ 528 00:29:22,750 --> 00:29:24,709 ♪ Yeah, yeah, yeah ♪ 529 00:29:24,792 --> 00:29:29,333 ♪ And if I lost you Would I cry ♪ 530 00:29:30,083 --> 00:29:32,959 ♪ Oh, how I love you, baby ♪ 531 00:29:33,041 --> 00:29:37,417 ♪ Baby, baby, baby ♪ 532 00:29:37,500 --> 00:29:39,208 TINA: (PRESENT) It was so big, 533 00:29:39,291 --> 00:29:41,709 and my voice sounded so different 534 00:29:41,792 --> 00:29:43,959 standing on top of all that music. 535 00:29:44,041 --> 00:29:46,000 TINA: (SINGING) ♪ I love you, baby ♪ 536 00:29:46,083 --> 00:29:49,542 ♪ Like the flower Loves the spring... ♪ 537 00:29:49,625 --> 00:29:51,041 THOMAS: People started to see 538 00:29:51,125 --> 00:29:53,166 Tina was capable of so much more. 539 00:29:53,250 --> 00:29:55,125 She-- she had wings, man. 540 00:29:55,208 --> 00:29:57,333 TINA: ♪ And I love you, baby ♪ 541 00:29:57,417 --> 00:30:00,625 ♪ Like a schoolboy Loves his pet ♪ 542 00:30:00,709 --> 00:30:03,542 LODER: This is such an overpowering orchestration, 543 00:30:03,625 --> 00:30:04,625 it's so complex, 544 00:30:04,709 --> 00:30:07,250 it's this record that just blows out walls. 545 00:30:08,166 --> 00:30:10,208 TINA: (SINGING) ♪ Baby ♪ 546 00:30:10,959 --> 00:30:12,667 ♪ Baby... ♪ 547 00:30:12,750 --> 00:30:16,417 TINA: (PRESENT) 548 00:30:16,500 --> 00:30:18,291 TINA: (SINGING) ♪ Oh, baby ♪ 549 00:30:18,375 --> 00:30:19,500 ♪ Oh ♪ 550 00:30:21,625 --> 00:30:23,500 ♪ Oh ♪ 551 00:30:23,583 --> 00:30:24,542 ♪ (MUSIC ENDS ABRUPTLY) ♪ 552 00:30:24,625 --> 00:30:25,875 It just died in the United States. 553 00:30:25,959 --> 00:30:27,083 It died. Nobody wanted to hear it. 554 00:30:27,166 --> 00:30:28,792 And you listen to this record and you think, 555 00:30:28,875 --> 00:30:30,500 "What's the matter with this country?" 556 00:30:30,583 --> 00:30:32,625 You know? I'm so ashamed to be an American. 557 00:30:32,709 --> 00:30:35,166 (LAUGHS) You know, it's like, "What's wrong?" 558 00:30:35,250 --> 00:30:39,792 Um, so-- And that was a big blow to Spector's career, 559 00:30:39,875 --> 00:30:43,291 and, you know, maybe Ike, probably, 560 00:30:43,375 --> 00:30:45,291 was thinking, you know, "Well, see? 561 00:30:45,375 --> 00:30:48,750 He's not so great. (CHUCKLES) You should stick with me." 562 00:30:48,834 --> 00:30:52,500 Like any Black artist in America that do, uh, any tune, 563 00:30:52,583 --> 00:30:55,208 it has to go, like, top ten on the R&B charts 564 00:30:55,291 --> 00:30:57,375 before the top 40 stations will touch it. 565 00:30:57,458 --> 00:31:00,542 And "River Deep," uh, was not a Black record, 566 00:31:00,625 --> 00:31:03,375 you know, and so it wouldn't make the top ten on R&B charts, 567 00:31:03,458 --> 00:31:06,333 and so, therefore, the top 40 radio stations wouldn't play it. 568 00:31:06,417 --> 00:31:08,709 But where in England, they, uh, they listen to the record, 569 00:31:08,792 --> 00:31:11,709 and if the record is an R&B record, it's an R&B rhythm, you know, 570 00:31:11,792 --> 00:31:13,375 if it's rhythm and blues, it's rhythm and blues, 571 00:31:13,458 --> 00:31:14,834 and if it's pop, it's pop, you know, 572 00:31:14,917 --> 00:31:17,041 and so it got played over here. It never got played in America. 573 00:31:17,125 --> 00:31:18,500 The Black jockeys say it's too white, 574 00:31:18,583 --> 00:31:19,834 the white jockeys say it's too Black. 575 00:31:19,917 --> 00:31:22,834 ♪ ("CONTACT HIGH" BY TINA TURNER PLAYING) ♪ 576 00:31:26,166 --> 00:31:27,625 TINA: (SINGING) ♪ I was at this party ♪ 577 00:31:27,709 --> 00:31:29,834 ♪ That had the doors All closed ♪ 578 00:31:32,333 --> 00:31:35,417 ♪ All this funny smoke Kept goin' up my nose ♪ 579 00:31:37,959 --> 00:31:41,125 ♪ They had this joint That they was passin' around ♪ 580 00:31:43,125 --> 00:31:46,667 ♪ But when they got to me I turned it down... ♪ 581 00:31:46,750 --> 00:31:48,542 (HELICOPTER BLADES WHIRRING) 582 00:31:48,625 --> 00:31:50,375 -ARRINGTON: (ARCHIVAL) You live in LA? -TINA: Yes. 583 00:31:50,458 --> 00:31:51,917 ARRINGTON: What sort of life do you have? 584 00:31:52,000 --> 00:31:54,583 TINA: Well, my life is sort of based around my four sons. 585 00:31:54,667 --> 00:31:57,000 I have a housekeeper that takes care of them when I travel. 586 00:31:57,083 --> 00:31:59,041 Being a wife and being Tina at the same time 587 00:31:59,125 --> 00:32:00,375 is almost like a split person. 588 00:32:00,458 --> 00:32:02,750 But I'm able to separate the two, so everything is fine, 589 00:32:02,834 --> 00:32:05,458 and the whole thing is sane. 590 00:32:05,542 --> 00:32:09,542 TINA: ♪ But everybody got tired Of blowin' that grass ♪ 591 00:32:11,834 --> 00:32:13,166 ♪ I told 'em at first... ♪ 592 00:32:13,250 --> 00:32:17,333 Ike Junior and Michael were Ike's kids 593 00:32:17,417 --> 00:32:20,792 by Lorraine, his previous wife. 594 00:32:20,875 --> 00:32:25,083 Tina had Craig when she was with the saxophone player, 595 00:32:25,166 --> 00:32:26,375 Raymond Hill, 596 00:32:26,458 --> 00:32:30,083 and then she had Ronnie, you know, with Ike. 597 00:32:30,166 --> 00:32:33,166 They were, like, all together by the time I met Tina. 598 00:32:34,667 --> 00:32:36,709 TINA: (ARCHIVAL) Michael, don't stand on that-- that door, 599 00:32:36,792 --> 00:32:38,709 don't lean on that door like that. 600 00:32:40,083 --> 00:32:41,500 TINA: (PRESENT) I made myself a family. 601 00:32:41,583 --> 00:32:44,709 I totally psyched myself out, and I made a home, 602 00:32:44,792 --> 00:32:48,542 and I found some pleasure in that home every now and then. 603 00:32:48,625 --> 00:32:50,375 Birthdays with children, and dinners, 604 00:32:50,458 --> 00:32:52,000 Thanksgiving dinners, periodically, 605 00:32:52,083 --> 00:32:54,000 but at least I had some sense of a life 606 00:32:54,083 --> 00:32:55,792 of what I had always wanted. 607 00:32:55,875 --> 00:32:58,125 ♪ But I was just too stoned To take that ride ♪ 608 00:32:58,208 --> 00:32:59,792 ♪ (MUSIC FADES) ♪ 609 00:32:59,875 --> 00:33:02,583 ♪ (PIANO MUSIC PLAYING) ♪ 610 00:33:04,542 --> 00:33:06,125 CRAIG TURNER: Where my trophy at? 611 00:33:06,208 --> 00:33:07,458 Give me my trophy. 612 00:33:07,542 --> 00:33:09,709 That's a water boy trophy, it's not-- 613 00:33:09,792 --> 00:33:11,542 -Where's Mother's new trophy? -SIBLING: Hey, Craig? 614 00:33:11,625 --> 00:33:12,792 -CRAIG: What? -(INDISTINCT CHATTER) 615 00:33:12,875 --> 00:33:15,458 CRAIG: She was gone most of the time. 616 00:33:15,542 --> 00:33:17,458 Over a period of eight years, 617 00:33:17,542 --> 00:33:19,041 everything was basically the same, 618 00:33:19,125 --> 00:33:21,083 eight months on the road, four months back, 619 00:33:21,166 --> 00:33:24,083 eight months on the road, four months back. 620 00:33:24,166 --> 00:33:26,125 She was very, very strict, um, 621 00:33:26,208 --> 00:33:27,583 particularly when she was home. 622 00:33:27,667 --> 00:33:30,458 We couldn't have company unless we finished our homework, 623 00:33:30,542 --> 00:33:33,417 we had to do our chores, we had to eat breakfast, 624 00:33:33,500 --> 00:33:35,542 lunch, and dinner at the same time. 625 00:33:35,625 --> 00:33:39,000 She really took to raising us personally 626 00:33:39,083 --> 00:33:41,542 because, basically, that was her happiness 627 00:33:41,625 --> 00:33:42,750 to a certain extent. 628 00:33:44,250 --> 00:33:46,792 ARRINGTON: (ARCHIVAL) 629 00:33:47,125 --> 00:33:48,792 TINA: 630 00:33:53,834 --> 00:33:55,083 ARRINGTON: 631 00:33:55,166 --> 00:33:57,250 TINA: 632 00:34:10,166 --> 00:34:13,792 CRAIG: Everybody was happy around my mother, 633 00:34:13,875 --> 00:34:15,542 and she was always sad. 634 00:34:15,625 --> 00:34:17,083 She never had friends, 635 00:34:17,166 --> 00:34:19,834 she never had anybody she could really confide in. 636 00:34:19,917 --> 00:34:22,834 So, basically, her happiness was with us 637 00:34:22,917 --> 00:34:25,041 and her time alone in her room. 638 00:34:25,125 --> 00:34:27,709 And there was nothing she can do about her circumstances. 639 00:34:27,792 --> 00:34:29,041 (INDISTINCT CHATTER) 640 00:34:29,125 --> 00:34:31,375 CRAIG: He had to know where she was at all the time. 641 00:34:31,458 --> 00:34:34,417 She was on allowance, she didn't have her own money. 642 00:34:34,500 --> 00:34:36,542 My mother really had a nonexistent life 643 00:34:36,625 --> 00:34:39,500 other than the studio and the house. 644 00:34:39,583 --> 00:34:43,291 (INDISTINCT CHATTER ECHOING) 645 00:34:43,375 --> 00:34:45,834 KATORI HALL: When I first interviewed her, 646 00:34:45,917 --> 00:34:47,917 one of the questions she kept on asking was, 647 00:34:48,000 --> 00:34:51,834 "Why did I stay? Why did I stay? People wanna know why I stayed." 648 00:34:51,917 --> 00:34:54,583 And for me, it was interesting 649 00:34:54,667 --> 00:34:58,834 to think about the violence that happened before Ike, 650 00:34:58,917 --> 00:35:01,542 'cause I think a lot of people don't know that 651 00:35:01,625 --> 00:35:05,166 she grew up watching violence in her own home. 652 00:35:07,000 --> 00:35:10,166 -(WIND WHISTLING) -(INSECTS CHIRPING) 653 00:35:13,166 --> 00:35:15,458 TINA: (ARCHIVAL) 654 00:35:24,709 --> 00:35:26,250 -ARRINGTON: -TINA: 655 00:35:26,333 --> 00:35:27,333 ARRINGTON: 656 00:35:27,417 --> 00:35:28,917 TINA: 657 00:35:29,500 --> 00:35:31,208 ARRINGTON: 658 00:35:31,792 --> 00:35:33,375 TINA: 659 00:35:34,000 --> 00:35:36,166 (PLANTS RUSTLING) 660 00:35:39,959 --> 00:35:41,000 (SIGHS) 661 00:36:45,500 --> 00:36:48,375 ♪ ("PROUD MARY" BY IKE AND TINA TURNER PLAYING) ♪ 662 00:36:48,458 --> 00:36:49,709 TINA: And right now... 663 00:36:50,417 --> 00:36:52,208 (APPLAUSE) 664 00:36:52,291 --> 00:36:55,125 I think you might like to hear something from us... 665 00:36:55,208 --> 00:36:57,834 -nice... -IKE TURNER: (SINGING) ♪ Left A good job down in the city♪ 666 00:36:57,917 --> 00:37:01,125 -TINA: ...and easy. -(AUDIENCE CHEERS) 667 00:37:01,208 --> 00:37:03,750 -IKE: ♪ Working for the man... ♪ -TINA: Well, now... 668 00:37:04,458 --> 00:37:06,792 I'd like to do that for you. 669 00:37:06,875 --> 00:37:09,834 But there's just one thing. You see... 670 00:37:09,917 --> 00:37:12,500 we never, ever do nothing... 671 00:37:13,709 --> 00:37:16,375 -nice and easy. -♪ (IKE CONTINUES SINGING) ♪ 672 00:37:16,458 --> 00:37:21,291 TINA: (CHUCKLES) We always do it nice... 673 00:37:21,792 --> 00:37:23,291 and rough. 674 00:37:24,458 --> 00:37:26,750 And we're gonna take the beginning of this song, 675 00:37:27,542 --> 00:37:31,041 and we're gonna do it... easy. 676 00:37:31,125 --> 00:37:33,625 -(SINGING) ♪ Rolling ♪ -IKE: ♪ Rolling ♪ 677 00:37:33,709 --> 00:37:37,291 -TINA: ♪ Rolling on a river ♪ -IKE: ♪ Rolling on a river My, my ♪ 678 00:37:37,375 --> 00:37:38,542 TINA: Listen. 679 00:37:39,375 --> 00:37:41,417 (SINGING) ♪ I left a good job ♪ 680 00:37:41,500 --> 00:37:43,917 -♪ In the city ♪ -IKE: ♪ Down in the city ♪ 681 00:37:44,000 --> 00:37:46,667 ARRINGTON: (ARCHIVAL) 682 00:37:50,208 --> 00:37:52,166 TINA: 683 00:38:03,166 --> 00:38:05,750 -♪ (MUSIC CONTINUES) ♪ -(AUDIENCE CLAPPING) 684 00:38:05,834 --> 00:38:10,458 TINA: (SINGING) ♪ Proud Mary keep on burning ♪ 685 00:38:10,542 --> 00:38:12,959 -♪ And we're rollin'... ♪ -IKE: ♪ Rollin' ♪ 686 00:38:13,041 --> 00:38:15,959 TINA: (PRESENT) I was truly a friend to Ike. 687 00:38:16,041 --> 00:38:18,333 I had promised that I would help him... 688 00:38:19,792 --> 00:38:24,000 so I was still trying to help him to get a hit record. 689 00:38:24,083 --> 00:38:27,792 ♪ The river ♪ 690 00:38:27,875 --> 00:38:29,250 IKE: Two, three, four, come on! 691 00:38:29,333 --> 00:38:32,250 ♪ (MUSIC TEMPO SPEEDS UP) ♪ 692 00:38:34,583 --> 00:38:35,583 Whoo! 693 00:38:39,208 --> 00:38:42,041 ♪ Now I left a good job In the city ♪ 694 00:38:42,125 --> 00:38:44,792 ♪ Working for the man Every night and day ♪ 695 00:38:44,875 --> 00:38:47,291 ♪ And I never lost One minute of sleepin' ♪ 696 00:38:47,375 --> 00:38:50,083 ♪ Worryin' 'bout the way Things might have been ♪ 697 00:38:50,166 --> 00:38:52,959 -♪ Big wheel keep on turnin' ♪ -♪ Turnin' ♪ 698 00:38:53,041 --> 00:38:55,458 -♪ Proud Mary keep on burnin' ♪ -♪ Burnin' ♪ 699 00:38:55,542 --> 00:38:57,083 -♪ Rollin' ♪ -♪ Yeah ♪ 700 00:38:57,166 --> 00:38:58,458 -♪ Rollin' ♪ -♪ All right ♪ 701 00:38:58,542 --> 00:39:00,375 ♪ Rollin' on the river ♪ 702 00:39:00,458 --> 00:39:01,875 ♪ I said we're rollin' ♪ 703 00:39:01,959 --> 00:39:03,583 -♪ Rollin' ♪ -♪ Yeah ♪ 704 00:39:03,667 --> 00:39:06,083 ♪ Rollin' on the river ♪ 705 00:39:06,166 --> 00:39:08,834 ♪ River doo-doo-doo Doo-doo-doo-doo ♪ 706 00:39:08,917 --> 00:39:10,250 ♪ Doo-doo-doo-doo ♪ 707 00:39:13,583 --> 00:39:15,417 (CROWD CHEERING) 708 00:39:18,500 --> 00:39:20,709 TINA: (PRESENT) "Proud Mary" became a hit. 709 00:39:20,792 --> 00:39:22,333 We were all over America. 710 00:39:22,417 --> 00:39:25,625 (SINGING) ♪ And I pumped a lot Of 'tane down in New Orleans ♪ 711 00:39:25,709 --> 00:39:28,208 ♪ But I never saw The good side of the city ♪ 712 00:39:28,291 --> 00:39:30,834 ♪ Till I hitched a ride On the riverboat queen ♪ 713 00:39:30,917 --> 00:39:32,125 ♪ Big wheel keep on turnin'... ♪ 714 00:39:32,208 --> 00:39:34,000 PHOTOGRAPHER: That's fabulous. 715 00:39:34,083 --> 00:39:36,083 INTERVIEWER 5: Who settles an argument if you-- 716 00:39:36,166 --> 00:39:39,959 Ah, things are not always the way they look, you know. 717 00:39:40,041 --> 00:39:41,417 INTERVIEWER 5: No, Ike's kinda quiet. 718 00:39:41,500 --> 00:39:42,667 TINA: Yeah, he's-- he's-- 719 00:39:42,750 --> 00:39:45,792 Ike is very bashful when the lights are on, and-- 720 00:39:45,875 --> 00:39:47,625 (LAUGHTER) 721 00:39:47,709 --> 00:39:49,208 TINA: But on the other hand, 722 00:39:49,291 --> 00:39:50,792 when he's in the recording studio, 723 00:39:50,875 --> 00:39:52,667 Ike's the one that does all of the ruling around, 724 00:39:52,750 --> 00:39:55,125 the talking, he's the whole thing. 725 00:39:55,208 --> 00:39:56,625 INTERVIEWER 5: But in public, he's like this. 726 00:39:56,709 --> 00:39:59,041 Yeah, 'cause he can't get it together. It takes him-- 727 00:39:59,125 --> 00:40:00,917 (LAUGHTER) 728 00:40:03,417 --> 00:40:06,834 ARRINGTON: (ARCHIVAL) 729 00:40:11,041 --> 00:40:12,959 TINA: 730 00:40:24,542 --> 00:40:27,458 (SINGING) ♪ You better do it I said we're rollin'... ♪ 731 00:40:27,542 --> 00:40:30,625 TINA: (PRESENT) 732 00:40:32,000 --> 00:40:35,375 (SINGING) ♪ Rollin' Rollin' on the river ♪ 733 00:40:35,458 --> 00:40:37,333 ♪ Whoa ♪ 734 00:40:37,750 --> 00:40:41,041 TINA: 735 00:40:42,500 --> 00:40:44,083 ♪ (MUSIC FADES) ♪ 736 00:40:44,166 --> 00:40:47,834 ♪ (TINA SINGING INDISTINCTLY) ♪ 737 00:40:50,041 --> 00:40:51,500 ♪ Hey ♪ 738 00:40:54,083 --> 00:40:56,375 TINA: 739 00:41:04,875 --> 00:41:09,750 ♪ (TINA SINGING INDISTINCTLY) ♪ 740 00:41:09,834 --> 00:41:12,959 I swear you're behind me. Y'all behind me, right? 741 00:41:13,041 --> 00:41:15,625 These are-- I'm on-- I'm on a speed above 742 00:41:15,709 --> 00:41:16,834 where y'all feel that. 743 00:41:16,917 --> 00:41:19,166 -You don't hear me. -(TINA SPEAKING INDISTINCTLY) 744 00:41:19,709 --> 00:41:21,542 TINA: 745 00:41:26,875 --> 00:41:28,291 I'm just sayin', like, you're telling her-- 746 00:41:28,375 --> 00:41:30,041 you're tellin' her that, and she's not getting there. 747 00:41:30,125 --> 00:41:31,917 I'm just trying to give her an example... 748 00:41:32,417 --> 00:41:33,875 of how to sing. 749 00:41:34,792 --> 00:41:37,333 IKE: Okay. (SPEAKS INDISTINCTLY) 750 00:41:40,458 --> 00:41:42,667 TINA: (PRESENT) 751 00:41:55,542 --> 00:41:57,417 CRAIG: In the later part of their career when, you know, 752 00:41:57,500 --> 00:41:58,458 the hits weren't coming in, 753 00:41:58,542 --> 00:41:59,875 a lot of money wasn't coming in, 754 00:41:59,959 --> 00:42:02,625 he started placing the blame elsewhere. 755 00:42:02,709 --> 00:42:05,333 You know, he took a lot of his anger out on her. 756 00:42:05,417 --> 00:42:07,000 ♪ (SOMBER MUSIC PLAYING) ♪ 757 00:42:07,083 --> 00:42:10,709 CRAIG: Most of the time, um, when Ike would come home, 758 00:42:10,792 --> 00:42:12,667 he would take her back in the room 759 00:42:12,750 --> 00:42:14,083 and then close the door. 760 00:42:14,166 --> 00:42:16,500 And there'd be the screams. 761 00:42:16,583 --> 00:42:18,458 And we were so petrified, we were in bed 762 00:42:18,542 --> 00:42:21,041 with the, you know, covers over our heads. 763 00:42:21,125 --> 00:42:24,583 And then I remember one time he was, uh... 764 00:42:24,667 --> 00:42:27,458 (BREATHES DEEPLY, CLEARS THROAT) 765 00:42:29,166 --> 00:42:31,750 (VOICE SHAKING) ...he was, um, striking my mother, 766 00:42:32,542 --> 00:42:33,959 and I was young, 767 00:42:34,041 --> 00:42:38,125 and, uh, he had thrown some scalding hot coffee on her. 768 00:42:40,125 --> 00:42:42,000 And I went, banged on the door... 769 00:42:43,709 --> 00:42:45,959 and I said, "Mother!" And then it stopped, 770 00:42:46,041 --> 00:42:47,834 and then she said, "Craig, I'm okay." 771 00:42:49,625 --> 00:42:52,333 He came to apologize, 772 00:42:52,417 --> 00:42:55,375 and he apologized for the third-degree burn 773 00:42:55,458 --> 00:42:58,041 but didn't apologize for throwing the coffee on her. 774 00:42:58,125 --> 00:43:00,041 At that point in time, I hated that man 775 00:43:00,125 --> 00:43:01,959 for the rest of my life. 776 00:43:02,041 --> 00:43:05,125 And I will never forget that, never. 777 00:43:11,250 --> 00:43:13,458 TINA: (ARCHIVAL) 778 00:43:22,834 --> 00:43:24,667 I had begun to not really care. 779 00:43:27,500 --> 00:43:29,959 And I was there alone. 780 00:43:30,041 --> 00:43:32,166 How can I tell you what alone meant? 781 00:44:02,875 --> 00:44:06,166 (INDISTINCT SINGING, LAUGHING) 782 00:44:06,250 --> 00:44:07,834 TINA: 783 00:44:14,500 --> 00:44:17,083 ALL: (SINGING) ♪ Tell me have you seen him ♪ 784 00:44:17,166 --> 00:44:18,709 (LAUGHING) 785 00:44:21,166 --> 00:44:23,000 TINA: 786 00:44:34,667 --> 00:44:37,542 GRAAM: We got to the hospital, and they pumped her stomach 787 00:44:37,625 --> 00:44:41,166 and Ike was out talking to the doctor or something, 788 00:44:41,250 --> 00:44:42,959 and I was in there, just her and I, 789 00:44:43,041 --> 00:44:45,333 and I was scared shitless, and I said, 790 00:44:45,417 --> 00:44:47,417 "Tina, you can't die on me. Come on, now." 791 00:44:47,500 --> 00:44:49,667 It just really scared me, 'cause I didn't know what had-- 792 00:44:49,750 --> 00:44:54,125 you know-- if she was gonna pull through or not. 793 00:44:54,750 --> 00:44:58,917 (INAUDIBLE) 794 00:45:04,250 --> 00:45:05,750 TINA: (PRESENT) 795 00:45:09,000 --> 00:45:11,125 ♪ (MUSIC STOPS) ♪ 796 00:45:21,667 --> 00:45:24,125 -INTERVIEWER 6: These are some difficult questions, now, and... -IKE: Okay. 797 00:45:24,208 --> 00:45:26,667 INTERVIEWER 6: ...there was a time when she was unhappy, 798 00:45:26,750 --> 00:45:28,333 and there was a suicide attempt. 799 00:45:28,417 --> 00:45:30,375 Can you talk about her unhappiness 800 00:45:30,458 --> 00:45:32,125 and how that made you feel? 801 00:45:36,458 --> 00:45:38,875 Well, I can't really say how I felt 802 00:45:38,959 --> 00:45:41,875 because I never knew how she felt. 803 00:45:41,959 --> 00:45:45,959 I didn't know why she attempted suicide, uh, uh, 804 00:45:46,041 --> 00:45:49,792 because I thought maybe that it was a, uh, uh... 805 00:45:51,250 --> 00:45:52,291 well... 806 00:45:54,709 --> 00:45:55,709 Let me start this again. 807 00:45:55,792 --> 00:45:58,208 Uh, all right, at first, Tina, um, 808 00:45:58,291 --> 00:46:01,000 attempting suicide two or three times, 809 00:46:01,083 --> 00:46:04,917 um, I think that this was some form of attention. 810 00:46:05,000 --> 00:46:08,583 Um, she was unhappy about the things that I was doing. 811 00:46:08,667 --> 00:46:10,792 Uh, um, me being a womanizer, 812 00:46:10,875 --> 00:46:13,041 being with all these women and stuff like this. 813 00:46:13,125 --> 00:46:15,291 And I think that, uh, the real truth 814 00:46:15,375 --> 00:46:20,083 is that she was trying to be something that she wasn't. 815 00:46:20,166 --> 00:46:22,917 She was-- Wait a minute, I wanna clarify this. 816 00:46:23,000 --> 00:46:27,583 She was trying to be what she thought I wanted. 817 00:46:27,667 --> 00:46:29,709 Not what she-- what really was. 818 00:46:29,792 --> 00:46:32,583 She was trying to please me, and so therefore, 819 00:46:32,667 --> 00:46:34,208 she was going through a lot of hurt 820 00:46:34,291 --> 00:46:36,917 and I think she had a very unhappy life because of that. 821 00:46:37,000 --> 00:46:38,500 I think we were living a lie, 822 00:46:38,583 --> 00:46:42,125 and, uh, if I'd have used my head any at all, 823 00:46:42,208 --> 00:46:44,250 I would've known better. 824 00:46:44,333 --> 00:46:48,709 And so this is what led to our, um, downfall. 825 00:46:51,083 --> 00:46:54,709 ♪ (SOMBER MUSIC PLAYING) ♪ 826 00:46:57,834 --> 00:47:00,500 ARRINGTON: (ARCHIVAL) 827 00:47:08,500 --> 00:47:10,333 TINA: 828 00:47:16,375 --> 00:47:18,917 (INDISTINCT CHATTER) 829 00:47:38,166 --> 00:47:39,166 ARRINGTON: Mm-hmm. 830 00:47:39,250 --> 00:47:40,792 TINA: (ARCHIVAL) 831 00:47:45,959 --> 00:47:47,583 (LAUGHS) 832 00:47:51,291 --> 00:47:54,417 TINA: (PRESENT) Buddhism was a way out. 833 00:47:55,333 --> 00:47:58,125 And it changed your attitude towards 834 00:47:58,208 --> 00:47:59,750 the situation that you're in. 835 00:47:59,834 --> 00:48:02,041 The more you chant, the more, you know, 836 00:48:02,125 --> 00:48:04,792 you become liberated mentally. 837 00:48:05,625 --> 00:48:08,917 TINA: (ARCHIVAL) 838 00:48:15,125 --> 00:48:18,041 (CHANTING) Nam myoho renge kyo, nam myoho renge kyo, 839 00:48:18,125 --> 00:48:20,750 nam myoho renge kyo, nam myoho renge kyo, 840 00:48:20,834 --> 00:48:23,625 nam myoho renge kyo, nam myoho renge kyo, 841 00:48:23,709 --> 00:48:26,542 nam myoho renge kyo, nam myoho renge kyo, 842 00:48:26,625 --> 00:48:29,375 nam myoho renge kyo, nam myoho renge kyo, 843 00:48:29,458 --> 00:48:32,500 nam myoho renge kyo, nam myoho renge kyo... 844 00:48:41,834 --> 00:48:43,291 (CONTINUES CHANTING) 845 00:48:43,375 --> 00:48:45,125 -(CHEERING) -(CONTINUES CHANTING) 846 00:48:45,208 --> 00:48:47,291 -(LAUGHTER) -(CONTINUES CHANTING) 847 00:48:47,375 --> 00:48:49,166 -(INDISTINCT CHATTER) -(CONTINUES CHANTING) 848 00:48:50,542 --> 00:48:54,000 TINA: 849 00:48:55,667 --> 00:48:56,834 (CHANTING STOPS) 850 00:48:56,917 --> 00:49:01,583 (SINGING) ♪ Yo ♪ 851 00:49:01,667 --> 00:49:04,750 CROWD: (SINGING) ♪ Yo ♪ 852 00:49:04,834 --> 00:49:07,000 TINA: 853 00:49:11,291 --> 00:49:15,667 (SINGING) ♪ Yo, ha-yo Hey! ♪ 854 00:49:16,375 --> 00:49:18,041 CROWD: (SINGING) ♪ Yo ♪ 855 00:49:18,125 --> 00:49:20,625 (CHANTING RESUMES) 856 00:49:24,291 --> 00:49:27,750 TINA: 857 00:49:29,375 --> 00:49:32,125 (SINGING) ♪ Every woman's Got to be respected ♪ 858 00:49:32,208 --> 00:49:35,208 ♪ Every little girl's Got to have her respect ♪ 859 00:49:37,041 --> 00:49:38,959 FLETCHER: Ike had recognized it too, 860 00:49:39,041 --> 00:49:41,375 that he couldn't control her anymore 861 00:49:41,458 --> 00:49:44,375 because she just wasn't putting up with any of that. 862 00:49:44,458 --> 00:49:46,250 Right now, 863 00:49:46,333 --> 00:49:48,208 I'm gonna talk about respect, 864 00:49:48,917 --> 00:49:50,375 because you see... 865 00:49:51,542 --> 00:49:53,375 respect is what I want. 866 00:49:54,625 --> 00:49:57,291 I think it's what most of us want. 867 00:49:57,375 --> 00:50:00,041 But, you know, we don't always get what we want. 868 00:50:00,667 --> 00:50:02,458 Especially us women. 869 00:50:02,542 --> 00:50:03,917 (AUDIENCE CHEERING) 870 00:50:04,041 --> 00:50:06,000 Tonight, I'm gonna speak for us women, you see, 871 00:50:06,083 --> 00:50:09,792 because somehow, the men 872 00:50:09,875 --> 00:50:12,875 always manage to get what they want. 873 00:50:13,500 --> 00:50:15,291 That's right. 874 00:50:15,375 --> 00:50:16,792 They do what they wanna do 875 00:50:17,959 --> 00:50:19,709 whenever they want to do it. 876 00:50:20,250 --> 00:50:22,166 And you know what? 877 00:50:22,250 --> 00:50:25,375 They do it with whoever they want to do it with. 878 00:50:26,375 --> 00:50:28,250 But that's just started us women to thinking. 879 00:50:28,959 --> 00:50:30,834 Yeah, we can think too. 880 00:50:30,917 --> 00:50:34,250 We think that whatever's out there in the streets 881 00:50:34,917 --> 00:50:37,000 must be good. 882 00:50:37,083 --> 00:50:40,667 'Cause your man's been out there a long time. 883 00:50:40,750 --> 00:50:43,709 Now us women wants to go out there and get us some too. 884 00:50:43,792 --> 00:50:45,041 (LAUGHS) 885 00:50:45,125 --> 00:50:46,542 I want you to... 886 00:50:46,625 --> 00:50:48,250 (SINGING) ♪ To get together ♪ 887 00:50:48,333 --> 00:50:50,875 ♪ I want you to try to feel it ♪ 888 00:50:50,959 --> 00:50:52,500 ♪ Try to feel it ♪ 889 00:50:52,583 --> 00:50:55,875 ♪ And I want everybody To do a soul clap ♪ 890 00:50:55,959 --> 00:50:57,125 ♪ Clap your hands ♪ 891 00:50:57,709 --> 00:50:58,959 ♪ Clap, clap ♪ 892 00:50:59,500 --> 00:51:00,917 ♪ Clap, clap ♪ 893 00:51:01,000 --> 00:51:03,000 ♪ Clap your hands, everybody ♪ 894 00:51:09,500 --> 00:51:11,709 ♪ Show some respect ♪ 895 00:51:11,792 --> 00:51:14,625 ♪ Just give me Just give me respect ♪ 896 00:51:14,709 --> 00:51:16,125 ♪ Just give me ♪ 897 00:51:18,917 --> 00:51:20,667 ♪ Just give me respect ♪ 898 00:51:20,750 --> 00:51:22,542 -♪ Just give me ♪ -TINA: ♪ Got to have ♪ 899 00:51:22,625 --> 00:51:24,208 -♪ Just give me ♪ -♪ Come on ♪ 900 00:51:24,291 --> 00:51:26,166 -♪ Just give me ♪ -♪ Got to have ♪ 901 00:51:28,083 --> 00:51:29,166 ♪ Oh, yeah... ♪ 902 00:51:29,834 --> 00:51:31,333 ♪ (MUSIC FADES) ♪ 903 00:51:31,417 --> 00:51:33,333 TINA: 904 00:51:37,375 --> 00:51:41,000 ARRINGTON: (ARCHIVAL) 905 00:51:42,333 --> 00:51:45,000 TINA: 906 00:51:49,500 --> 00:51:51,542 ♪ (SOMBER MUSIC PLAYING) ♪ 907 00:51:59,041 --> 00:52:00,417 IKE: Okay, okay. 908 00:52:00,500 --> 00:52:01,834 TINA: 909 00:52:44,875 --> 00:52:47,083 ♪ (DRAMATIC MUSIC PLAYING) 910 00:53:05,834 --> 00:53:07,583 ♪ (MUSIC QUIETS) ♪ 911 00:53:40,959 --> 00:53:43,500 ♪ (DRAMATIC MUSIC CONTINUES) ♪ 912 00:54:01,959 --> 00:54:03,875 (CAR ENGINES RUMBLING) 913 00:54:03,959 --> 00:54:05,250 ♪ (MUSIC STOPS) ♪ 914 00:54:05,333 --> 00:54:08,208 The memory of that was horrendous, of course, 915 00:54:08,291 --> 00:54:11,333 because I was practically run over by a truck. 916 00:54:11,417 --> 00:54:12,875 I didn't-- I didn't-- 917 00:54:12,959 --> 00:54:14,583 Well, I wasn't thinking clearly, of course. 918 00:54:14,667 --> 00:54:18,125 And so I thought at that point was a time when I could cross. 919 00:54:18,208 --> 00:54:21,375 But, you know, I felt like I was moving slow. 920 00:54:21,458 --> 00:54:22,792 And there was that big truck, 921 00:54:22,875 --> 00:54:24,458 really one of the big ones coming, 922 00:54:24,542 --> 00:54:27,583 and the horn blew and... (IMITATES HORN BLARING) 923 00:54:27,667 --> 00:54:33,375 And what I mostly remember is flashing lights. 924 00:54:33,458 --> 00:54:35,959 -♪ (MUSIC RESUMES) ♪ -(HORN BLARES) 925 00:54:42,625 --> 00:54:44,166 (ENGINES RUMBLING) 926 00:54:47,250 --> 00:54:49,625 ♪ (MUSIC CONTINUES) ♪ 927 00:54:52,000 --> 00:54:53,834 (TRUCK HORN BLARES) 928 00:55:07,041 --> 00:55:09,750 ♪ (MUSIC FADES) ♪ 929 00:55:12,709 --> 00:55:14,875 (CRICKETS CHIRPING) 930 00:55:17,625 --> 00:55:19,542 TINA: (ARCHIVAL) 931 00:56:02,834 --> 00:56:06,458 ♪ (DRAMATIC MUSIC PLAYING) ♪ 932 00:56:07,917 --> 00:56:10,083 The next day, it was the Fourth of July, 933 00:56:10,166 --> 00:56:11,917 and I said, "Well, the Fourth of July," 934 00:56:12,000 --> 00:56:13,208 but I'll remember every time, 935 00:56:13,291 --> 00:56:16,583 "Oh, Fourth of July, that's when I got my freedom." 936 00:56:17,750 --> 00:56:19,792 ♪ (MUSIC CONTINUES) ♪ 937 00:56:22,583 --> 00:56:25,458 (FIREWORKS POPPING) 938 00:56:50,667 --> 00:56:52,625 ♪ (MUSIC CONCLUDES) ♪ 939 00:56:52,709 --> 00:56:56,375 TINA: (PRESENT) The divorce was... clean-cut. 940 00:56:56,458 --> 00:57:00,291 I got nothing. No money, no house, no car. 941 00:57:00,917 --> 00:57:04,333 ARRINGTON: (ARCHIVAL) 942 00:57:04,417 --> 00:57:06,166 TINA: (ARCHIVAL) 943 00:57:09,166 --> 00:57:11,375 ARRINGTON: 944 00:57:11,458 --> 00:57:13,625 TINA: 945 00:57:20,667 --> 00:57:21,834 ARRINGTON: Mm-hmm. 946 00:57:23,083 --> 00:57:25,166 TINA: 947 00:57:29,583 --> 00:57:32,750 TINA: (PRESENT) That is when I realized that I could use Tina 948 00:57:32,834 --> 00:57:36,667 to become a business. 949 00:57:38,375 --> 00:57:40,709 And so I said, "I'll just take my name." 950 00:57:43,250 --> 00:57:44,458 Ike fought a little bit 951 00:57:44,542 --> 00:57:47,166 because he knew what I would do with it, 952 00:57:47,250 --> 00:57:51,166 and it was through court that I got it, Tina. 953 00:57:55,709 --> 00:57:58,959 HALL: To keep it... is to reclaim it. 954 00:57:59,041 --> 00:58:01,208 Reshape it, refine it. 955 00:58:03,542 --> 00:58:06,291 Also a kind of like, "fuck you" to Ike. 956 00:58:06,375 --> 00:58:08,875 "Yeah, you gave me this name, 957 00:58:08,959 --> 00:58:11,291 but watch what I build with it." 958 00:58:11,375 --> 00:58:14,917 ♪ ("ROOT, TOOT, UNDISPUTABLE ROCK 'N' ROLLER" BY TINA TURNER PLAYING) ♪ 959 00:58:19,709 --> 00:58:22,375 ♪ When you walk into the bar ♪ 960 00:58:22,458 --> 00:58:25,417 ♪ I'm the first one You're gonna see ♪ 961 00:58:26,834 --> 00:58:29,375 ♪ Business and pleasure Just don't mix ♪ 962 00:58:29,458 --> 00:58:32,250 ♪ So can I take Your order please? ♪ 963 00:58:33,959 --> 00:58:36,500 ♪ You fellas know I don't take no mess ♪ 964 00:58:36,583 --> 00:58:42,000 ♪ It's a whole lotta woman In this dress ♪ 965 00:58:42,083 --> 00:58:48,000 ♪ Oh, they call me Root toot undisputable ♪ 966 00:58:48,083 --> 00:58:50,667 ♪ Rock and Roller ♪ 967 00:58:50,750 --> 00:58:54,834 ♪ I got a fine fanny But a rough-talking Annie ♪ 968 00:58:54,917 --> 00:58:56,917 ♪ Rock and Roller ♪ 969 00:58:57,959 --> 00:58:59,500 ♪ Ow... ♪ 970 00:58:59,583 --> 00:59:01,333 TINA: (PRESENT) I realized I had to go to work. 971 00:59:01,417 --> 00:59:03,041 I mean, I couldn't just stay there 972 00:59:03,125 --> 00:59:06,375 and wait for what? I had to work. 973 00:59:06,458 --> 00:59:07,709 LODER: After Tina left Ike, 974 00:59:07,792 --> 00:59:10,041 somebody had to pay for all the dates they blew, 975 00:59:10,125 --> 00:59:12,250 and Tina wound up with all the bills, 976 00:59:12,333 --> 00:59:13,834 none of the money. 977 00:59:13,917 --> 00:59:15,041 She would go do Vegas. 978 00:59:15,125 --> 00:59:17,000 She'd go do, like, McDonald's conventions. 979 00:59:17,083 --> 00:59:19,875 She'd play anywhere just to make the money to get by. 980 00:59:19,959 --> 00:59:23,208 TINA: (SINGING) ♪ Everybody Knows to keep it cool... ♪ 981 00:59:23,291 --> 00:59:25,834 GRAAM: Ike wasn't paying anything at that point. 982 00:59:25,917 --> 00:59:29,625 So she's gotta support herself and the kids. 983 00:59:29,709 --> 00:59:32,125 So that's when I started booking television shows. 984 00:59:32,208 --> 00:59:34,750 I mean, we were doing everything from The Brady Bunch... 985 00:59:36,291 --> 00:59:37,959 (SINGING) ♪ Too many nights... ♪ 986 00:59:38,041 --> 00:59:41,125 -GRAAM: ...to Hollywood Squares. -ANNOUNCER 2: ...in The Hollywood Squares! 987 00:59:41,208 --> 00:59:43,125 GRAAM: Whatever TV shows we could get her on, 988 00:59:43,208 --> 00:59:45,208 because that was the only source of income at that point. 989 00:59:45,291 --> 00:59:47,250 PETER MARSHALL: Ike and Tina, where's Ike? 990 00:59:47,333 --> 00:59:50,250 -I don't know. -(LAUGHTER) 991 00:59:50,333 --> 00:59:52,250 MARSHALL: So nice to have you on this show, Tina. 992 00:59:52,333 --> 00:59:53,583 Thank you. 993 00:59:53,667 --> 00:59:56,417 ANNIE BEHRINGER: What I remember is there was always the shadow 994 00:59:56,500 --> 00:59:58,709 of Ike Turner. 995 00:59:58,792 --> 01:00:02,792 It was really hard for her, you know. 996 01:00:02,875 --> 01:00:05,083 Is it all right for me to ask you if you and Ike 997 01:00:05,166 --> 01:00:08,542 are together, or separated, or divorced, or...? 998 01:00:09,333 --> 01:00:11,041 Separated and divorced. (LAUGHS) 999 01:00:11,125 --> 01:00:12,750 INTERVIEWER 7: Separated and divorced? 1000 01:00:12,834 --> 01:00:14,291 Yeah. We are divorced. 1001 01:00:14,375 --> 01:00:17,208 -INTERVIEWER 7: Yeah, it took a while for you to decide. -Oh, yes. 1002 01:00:17,291 --> 01:00:19,750 Well, yes. It was-- I mean, we're family, 1003 01:00:19,834 --> 01:00:22,417 -we've been together for, like, 16 years. -INTERVIEWER 7: Yeah. 1004 01:00:22,500 --> 01:00:25,208 -Ike and Tina Turner, that-- that was a unit. -Yeah. 1005 01:00:25,291 --> 01:00:27,458 They still-- People still call me "Ike and Tina." 1006 01:00:27,542 --> 01:00:29,208 -Ike and Tina. (CHUCKLES) -Yeah, they do. 1007 01:00:29,291 --> 01:00:32,041 BEHRINGER: He triggered a lot of trauma. 1008 01:00:32,750 --> 01:00:34,500 Just the thought of him. 1009 01:00:34,583 --> 01:00:36,667 You know, 'cause there was a lot. 1010 01:00:36,750 --> 01:00:39,125 But she's a professional. She'd get on stage, 1011 01:00:39,208 --> 01:00:43,166 you'd never know anything was up. Ever. 1012 01:00:43,250 --> 01:00:45,333 TINA: (ARCHIVAL) Five, six, seven, eight. 1013 01:00:45,417 --> 01:00:48,750 (SINGING) ♪ My head I hear music in-- ♪ 1014 01:00:48,834 --> 01:00:51,291 ♪ I hear music ♪ 1015 01:00:51,375 --> 01:00:57,166 ♪ That lets me know There's a party going down ♪ 1016 01:00:57,250 --> 01:01:00,542 ♪ La-la-la-la La-la-la-la... ♪ 1017 01:01:03,000 --> 01:01:04,709 TINA: (PRESENT) I was-- I was becoming stagnant. 1018 01:01:04,792 --> 01:01:06,458 I knew that there was something else, 1019 01:01:06,542 --> 01:01:08,417 and I realized I wasn't going anywhere. 1020 01:01:08,500 --> 01:01:09,959 I'd be in Las Vegas all my life. 1021 01:01:10,041 --> 01:01:11,583 Five, six, seven, eight, 1022 01:01:11,667 --> 01:01:13,166 change position, two, three four... 1023 01:01:13,250 --> 01:01:15,333 TINA: (PRESENT) I was ready to get out there. 1024 01:01:15,417 --> 01:01:17,208 This is fine, what you've got so far, 1025 01:01:17,291 --> 01:01:19,208 but it's not good enough. 1026 01:01:19,291 --> 01:01:21,917 Well then, the next question is, but you'll have to get 1027 01:01:22,000 --> 01:01:23,417 someone to organize that. 1028 01:01:23,500 --> 01:01:25,834 That is when Roger came into the picture. 1029 01:01:25,917 --> 01:01:28,041 ♪ ("HEARTACHE TONIGHT" BY OLIVIA NEWTON-JOHN PLAYING) ♪ 1030 01:01:28,125 --> 01:01:31,125 (SINGING) ♪ Somebody's Gonna hurt someone ♪ 1031 01:01:32,250 --> 01:01:34,750 ♪ Before the night Is through... ♪ 1032 01:01:36,750 --> 01:01:39,125 ROGER DAVIES: Well, I was working with Olivia Newton-John, 1033 01:01:39,208 --> 01:01:41,583 and we were doing a television special 1034 01:01:41,667 --> 01:01:43,041 called Hollywood Nights. 1035 01:01:43,125 --> 01:01:45,291 And Olivia had this desire 1036 01:01:45,375 --> 01:01:47,625 to have really strong female singers 1037 01:01:47,709 --> 01:01:49,375 back her in one or two songs. 1038 01:01:49,458 --> 01:01:51,667 ♪ If it takes all night ♪ 1039 01:01:51,750 --> 01:01:54,125 DAVIES: We had a list of people we asked, 1040 01:01:54,208 --> 01:01:56,458 Toni Tennille, Captain &Tennille. 1041 01:01:56,542 --> 01:01:58,375 I think Peaches was in it, 1042 01:01:58,458 --> 01:02:02,709 Tina Turner, and that's when I first met Tina. 1043 01:02:02,792 --> 01:02:05,875 (SINGING) ♪ It's gonna be A heartache tonight ♪ 1044 01:02:05,959 --> 01:02:09,375 ♪ A heartache tonight I know ♪ 1045 01:02:09,458 --> 01:02:11,000 ♪ Yes, I know ♪ 1046 01:02:11,083 --> 01:02:13,583 ♪ It's gonna be A heartache tonight... ♪ 1047 01:02:13,667 --> 01:02:15,875 I remember when I walked into Roger's office, 1048 01:02:15,959 --> 01:02:17,375 he looked at me. 1049 01:02:17,458 --> 01:02:19,125 I will never forget that look. 1050 01:02:19,208 --> 01:02:21,041 It was in wonder, like, 1051 01:02:21,125 --> 01:02:23,959 "How old is she? What can I do with her?" 1052 01:02:24,041 --> 01:02:26,166 All of that. And then I said, 1053 01:02:26,250 --> 01:02:28,208 "I simply want a manager. I don't know what to do. 1054 01:02:28,291 --> 01:02:30,125 I need to work, I want to work." 1055 01:02:30,208 --> 01:02:33,667 And then he said, "I need to see what you do." 1056 01:02:33,750 --> 01:02:37,125 And so I said, "Well, I'm opening in San Francisco." 1057 01:02:37,208 --> 01:02:39,500 (SINGING) ♪ Now you've heard my story ♪ 1058 01:02:40,583 --> 01:02:43,667 ♪ You heard Every word I say... ♪ 1059 01:02:43,750 --> 01:02:45,792 DAVIES: They were doing a two-week residency 1060 01:02:45,875 --> 01:02:48,208 at the Fairmont Hotel in San Francisco, 1061 01:02:48,291 --> 01:02:49,375 two shows a night. 1062 01:02:49,458 --> 01:02:51,583 ♪ Fahrenheit or centigrade ♪ 1063 01:02:51,667 --> 01:02:53,041 ♪ They give us fever ♪ 1064 01:02:53,875 --> 01:02:56,083 (AUDIENCE WHOOPS) 1065 01:02:56,166 --> 01:02:58,041 The first show was supper, you know, 1066 01:02:58,125 --> 01:03:00,166 everyone eating dinner, and I'm like going, 1067 01:03:00,250 --> 01:03:01,417 "Christ," you know, this is... 1068 01:03:01,500 --> 01:03:02,917 ♪ Fever ♪ 1069 01:03:03,000 --> 01:03:04,083 DAVIES: It was very cabaret, 1070 01:03:04,166 --> 01:03:05,792 and they did a lot of cover versions. 1071 01:03:05,875 --> 01:03:09,000 I didn't react that excited. (LAUGHS) 1072 01:03:09,083 --> 01:03:11,333 'Cause I didn't think I could do anything with her. 1073 01:03:11,417 --> 01:03:13,000 ♪ Way to burn ♪ 1074 01:03:14,000 --> 01:03:17,208 ♪ What a lovely way to burn ♪ 1075 01:03:17,291 --> 01:03:19,583 ♪ (MUSIC TEMPO SPEEDS UP) ♪ 1076 01:03:20,291 --> 01:03:22,375 (AUDIENCE CHEERING) 1077 01:03:24,041 --> 01:03:25,750 ♪ Burn, baby, burn ♪ 1078 01:03:26,125 --> 01:03:27,291 (SHOUTS) 1079 01:03:27,375 --> 01:03:29,625 ♪ Burn, baby, burn ♪ 1080 01:03:29,709 --> 01:03:31,500 DAVIES: Anyway, we stayed for the second show, 1081 01:03:31,583 --> 01:03:33,959 and the second show, being like a nine o'clock show, 1082 01:03:34,041 --> 01:03:37,166 it was people had some drinks, they were standing on tables 1083 01:03:37,250 --> 01:03:38,959 and Tina was just working the audience. 1084 01:03:39,041 --> 01:03:42,625 And I went, "Wow. What a great live performance." 1085 01:03:42,709 --> 01:03:45,583 ♪ People getting loose now ♪ 1086 01:03:45,667 --> 01:03:48,333 ♪ Getting down on the roof ♪ 1087 01:03:49,750 --> 01:03:51,542 ♪ Folks are screamin' ♪ 1088 01:03:52,959 --> 01:03:54,375 ♪ Out of control... ♪ 1089 01:03:54,458 --> 01:03:56,542 ♪ (SONG FADES) ♪ 1090 01:03:56,625 --> 01:03:59,250 ♪ (DRAMATIC MUSIC PLAYING) ♪ 1091 01:04:01,959 --> 01:04:04,041 DAVIES: You know when you meet an artist 1092 01:04:04,125 --> 01:04:05,667 if they have got something that grabs you, 1093 01:04:05,750 --> 01:04:07,333 and, obviously, it did to me, 1094 01:04:07,417 --> 01:04:09,542 and she was also incredibly determined. 1095 01:04:10,834 --> 01:04:13,625 TINA: (PRESENT) Roger said to me, "What do you want?" 1096 01:04:15,333 --> 01:04:16,542 I had a dream. 1097 01:04:16,625 --> 01:04:19,667 My dream is to be the first Black rock and roll singer 1098 01:04:19,750 --> 01:04:21,875 to pack places, like the Stones 1099 01:04:21,959 --> 01:04:24,667 or those people that are packing those kinds of places, you know? 1100 01:04:24,750 --> 01:04:27,458 DAVIES: "I want to fill the rock stadiums, like Mick and Keith." 1101 01:04:27,542 --> 01:04:29,166 And I said, "Yep, that's what we're gonna do." 1102 01:04:29,250 --> 01:04:30,959 I had no idea if we were gonna do it, 1103 01:04:31,041 --> 01:04:33,750 'cause there weren't any female rock artists 1104 01:04:33,834 --> 01:04:36,166 in the world selling out football stadiums. 1105 01:04:36,250 --> 01:04:38,041 (CHEERING AND APPLAUSE) 1106 01:04:38,125 --> 01:04:40,834 LODER: Tina's problem after leaving the Ike orbit 1107 01:04:40,917 --> 01:04:43,250 was now she's on her own, she's just Tina Turner, 1108 01:04:43,333 --> 01:04:44,625 but who is that? 1109 01:04:46,834 --> 01:04:48,750 She is, by this point, 1110 01:04:48,834 --> 01:04:50,709 older than your average pop stars, 1111 01:04:50,792 --> 01:04:52,041 she's a middle-aged woman. 1112 01:04:52,125 --> 01:04:54,500 Is she R&B, is it-- was it disco? 1113 01:04:54,583 --> 01:04:55,750 Wasn't she doing that recently? 1114 01:04:55,834 --> 01:04:58,917 It was very unclear, her image was unclear. 1115 01:04:59,000 --> 01:05:01,125 DAVIES: When Tina said, "I'd like you to manage me," 1116 01:05:01,208 --> 01:05:02,458 I immediately thought, "Well, 1117 01:05:02,542 --> 01:05:04,208 we've got to get her a record deal, 1118 01:05:04,291 --> 01:05:05,750 we've got to change the image 1119 01:05:05,834 --> 01:05:08,041 so people at record companies know 1120 01:05:08,125 --> 01:05:10,709 that you're not just a Vegas cabaret act. 1121 01:05:10,792 --> 01:05:12,583 We're gonna make it current." 1122 01:05:12,667 --> 01:05:15,125 I said, "We're gonna have to make a rock show." 1123 01:05:15,208 --> 01:05:19,667 ♪ (MUSICAL INSTRUMENTS SOUND CHECKING) ♪ 1124 01:05:21,750 --> 01:05:23,208 TINA: (PRESENT) I was ready for change. 1125 01:05:23,291 --> 01:05:24,959 I was ready for that. 1126 01:05:25,041 --> 01:05:27,834 (CROWD CHEERING) 1127 01:05:27,917 --> 01:05:30,291 TINA: Well, first of all, the long hair was a-- 1128 01:05:30,375 --> 01:05:32,834 a look that I used for Ike and Tina. 1129 01:05:33,500 --> 01:05:34,667 So cut the hair. 1130 01:05:36,083 --> 01:05:38,291 That was a change immediately. 1131 01:05:40,333 --> 01:05:42,875 Then the Bob Mackie clothes went. 1132 01:05:44,750 --> 01:05:47,041 Pulled out some of my rock and roll dresses, 1133 01:05:47,125 --> 01:05:48,333 the shorter ones. 1134 01:05:49,000 --> 01:05:50,208 And I went to work. 1135 01:05:50,291 --> 01:05:51,583 DRUMMER: Five, six, seven, eight! 1136 01:05:51,667 --> 01:05:54,500 ♪ ("FOOLISH BEHAVIOR" BY TINA TURNER PLAYING) ♪ 1137 01:05:55,166 --> 01:05:56,834 PIANIST: Ladies and gentlemen... 1138 01:05:58,542 --> 01:05:59,959 Tina Turner! 1139 01:06:00,041 --> 01:06:01,875 (AUDIENCE CHEERS) 1140 01:06:08,667 --> 01:06:11,125 ♪ Can I introduce myself? ♪ 1141 01:06:11,208 --> 01:06:14,458 ♪ I'm a girl Of financial wealth ♪ 1142 01:06:14,542 --> 01:06:17,709 ♪ Sound in mind Body, soul, and health ♪ 1143 01:06:17,792 --> 01:06:18,834 (GRUNTS) 1144 01:06:18,917 --> 01:06:22,208 ♪ And I wanna kill his wife ♪ 1145 01:06:22,291 --> 01:06:25,291 ♪ I have this urge To take a life... ♪ 1146 01:06:25,375 --> 01:06:27,125 DAVIES: We hired a young band. 1147 01:06:27,208 --> 01:06:29,125 We didn't really have any money, 1148 01:06:29,208 --> 01:06:31,458 so Tina, who had always knew 1149 01:06:31,542 --> 01:06:33,250 what she wanted them to look like, 1150 01:06:33,333 --> 01:06:36,250 said, "We'll put them in black karate suits." 1151 01:06:36,333 --> 01:06:38,291 The band hated them. (CHUCKLES) 1152 01:06:38,375 --> 01:06:40,417 The musicians were like, "Why do we have to wear these?" 1153 01:06:40,500 --> 01:06:42,667 I said, "Well you know, you each get a different color belt." 1154 01:06:42,750 --> 01:06:46,000 BACKING SINGERS: ♪ He'll escape Down into Mexico... ♪ 1155 01:06:46,083 --> 01:06:47,667 TINA: (PRESENT) We looked a little bit shabby, 1156 01:06:47,750 --> 01:06:50,083 but that's what rock and roll is. It's shabby. 1157 01:06:51,417 --> 01:06:53,375 FLETCHER: She wanted two girls, 1158 01:06:53,458 --> 01:06:56,000 to get away, I think, from that Ikette thing. 1159 01:06:56,083 --> 01:06:58,500 TINA: (SINGING) ♪ Should I act Quiet, cold, and deliberate... ♪ 1160 01:06:58,583 --> 01:07:01,417 FLETCHER: She was reinventing herself 1161 01:07:01,500 --> 01:07:02,792 as Tina Turner. 1162 01:07:02,875 --> 01:07:04,542 ♪ And they'll say suicide They won't know who done it... ♪ 1163 01:07:04,625 --> 01:07:06,834 TINA: (PRESENT) That was the beginning of me taking control 1164 01:07:06,917 --> 01:07:08,166 of my performance. 1165 01:07:08,250 --> 01:07:09,667 TINA: (SINGING) ♪ Kill his wife ♪ 1166 01:07:09,750 --> 01:07:11,000 I was my own boss. 1167 01:07:11,083 --> 01:07:13,667 ♪ I really wanna take a life ♪ 1168 01:07:13,750 --> 01:07:17,333 BACKING SINGERS: ♪ He'll escape Down into Mexico ♪ 1169 01:07:17,417 --> 01:07:20,166 ♪ Baby, to Mexico ♪ 1170 01:07:20,250 --> 01:07:21,834 BACKING SINGERS: ♪ Sell the house ♪ 1171 01:07:21,917 --> 01:07:24,625 ♪ And find a nice young girl ♪ 1172 01:07:24,709 --> 01:07:27,166 ♪ Find a nice young girl ♪ 1173 01:07:28,291 --> 01:07:31,291 ♪ Just so life Won't hurt no more ♪ 1174 01:07:34,750 --> 01:07:37,625 ♪ Ooh ♪ 1175 01:07:37,709 --> 01:07:40,208 ♪ Oh yeah, yeah, yeah, Oh yeah, yeah, yeah ♪ 1176 01:07:40,291 --> 01:07:43,250 -♪ (MUSIC CONCLUDES) -(AUDIENCE CHEERING) 1177 01:07:43,333 --> 01:07:45,375 TINA: (ARCHIVAL) So, the minute we changed the show, 1178 01:07:45,458 --> 01:07:47,291 reviews were great, everything was going well. 1179 01:07:47,375 --> 01:07:49,875 And then we started working to try to get a record deal. 1180 01:07:49,959 --> 01:07:52,208 Nobody would touch Tina Turner. 1181 01:07:52,291 --> 01:07:56,000 DAVIES: When I first started trying to look for a deal 1182 01:07:56,083 --> 01:07:57,625 with Tina, 1183 01:07:58,250 --> 01:07:59,458 the general feeling was, 1184 01:07:59,542 --> 01:08:00,875 "Is she still with that guy, Ike?" 1185 01:08:00,959 --> 01:08:02,542 No one had any idea. 1186 01:08:02,625 --> 01:08:05,875 Tina needed to be exposed as, "She's a solo artist, 1187 01:08:05,959 --> 01:08:07,625 she's not associated with Ike." 1188 01:08:08,834 --> 01:08:11,792 TINA: (PRESENT) Roger came to me, asking me 1189 01:08:11,875 --> 01:08:15,291 if I would be willing to give the story to the press, 1190 01:08:15,834 --> 01:08:19,291 and I was afraid to... 1191 01:08:19,375 --> 01:08:24,000 put it out because of what I might receive from Ike. 1192 01:08:26,333 --> 01:08:28,667 TINA: (ARCHIVAL) 1193 01:08:33,166 --> 01:08:35,208 ARRINGTON: (PRESENT) I didn't really know too much 1194 01:08:35,291 --> 01:08:37,000 about the backstory, 1195 01:08:37,083 --> 01:08:39,709 and nobody knew about the traumas 1196 01:08:39,792 --> 01:08:41,000 that she went through. 1197 01:08:41,083 --> 01:08:44,417 You know, I just was looking for a simple comeback story. 1198 01:08:44,500 --> 01:08:46,000 Little did I know, you know, 1199 01:08:46,083 --> 01:08:49,500 there was this whole legend, uh, that came about. 1200 01:08:52,959 --> 01:08:55,208 TINA: (PRESENT) I didn't know what to expect. 1201 01:08:57,333 --> 01:09:00,125 I wanted to stop people from thinking 1202 01:09:00,208 --> 01:09:01,875 that Ike and Tina was so positive. 1203 01:09:01,959 --> 01:09:03,750 I mean, he was-- it was-- 1204 01:09:03,834 --> 01:09:07,125 that we were such a love team, or a great team, 1205 01:09:07,208 --> 01:09:09,000 and it wasn't like that. 1206 01:09:09,083 --> 01:09:13,709 So I thought, if nothing else, at least people would know. 1207 01:09:15,000 --> 01:09:17,333 ♪ (PIANO MUSIC PLAYING) ♪ 1208 01:09:18,250 --> 01:09:20,083 TV ANCHOR 1: Tina Turner is a legend, 1209 01:09:20,166 --> 01:09:21,959 a major influence on rock stars 1210 01:09:22,041 --> 01:09:24,250 like Rod Stewart and Mick Jagger. 1211 01:09:24,333 --> 01:09:26,959 Once, she was teamed with her husband, Ike. 1212 01:09:27,041 --> 01:09:28,166 Now she's on her own, 1213 01:09:28,250 --> 01:09:31,417 trying to establish herself as a star once again. 1214 01:09:31,500 --> 01:09:33,709 TINA: (ARCHIVAL) My life with Ike, it was, uh, 1215 01:09:33,792 --> 01:09:36,333 one that a lot of, maybe, people are familiar with, 1216 01:09:36,417 --> 01:09:38,875 of husbands that is, uh, 1217 01:09:38,959 --> 01:09:41,166 that practice brutality. (LAUGHS) 1218 01:09:41,250 --> 01:09:42,500 -INTERVIEWER 8: Yeah? -Yeah. 1219 01:09:42,583 --> 01:09:45,834 WINFREY: Nobody talked about sexual abuse, 1220 01:09:45,917 --> 01:09:48,875 physical abuse, domestic abuse. 1221 01:09:48,959 --> 01:09:50,291 Abuse, period. 1222 01:09:50,375 --> 01:09:54,000 Our generation is the generation 1223 01:09:54,083 --> 01:09:58,083 that started to break the silence. 1224 01:09:59,583 --> 01:10:03,166 INTERVIEWEE: Tina, she couldn't voice her own opinions. 1225 01:10:03,250 --> 01:10:05,750 Everything that she did was with Ike. 1226 01:10:05,834 --> 01:10:09,333 ARRINGTON: The idea of Tina as a presence on her own 1227 01:10:09,417 --> 01:10:12,834 and having escaped, people loved that story. 1228 01:10:12,917 --> 01:10:17,625 They wanted-- You know, here was somebody to root for. 1229 01:10:17,709 --> 01:10:21,583 DAVIES: Once the word was out, we met a guy called Carter, 1230 01:10:21,667 --> 01:10:24,750 John Carter at Capital who believed in her. 1231 01:10:24,834 --> 01:10:27,834 JOHN CARTER: (ARCHIVAL) I had always been interested in artists 1232 01:10:27,917 --> 01:10:29,959 that no one else was interested in. 1233 01:10:30,041 --> 01:10:32,542 Once a star, always a threat, 1234 01:10:32,625 --> 01:10:34,375 and that's the way I felt about Tina. 1235 01:10:34,458 --> 01:10:36,333 So you play that thing, you're playing that, 1236 01:10:36,417 --> 01:10:37,875 and you're playing the strum under me, 1237 01:10:37,959 --> 01:10:39,500 and we move down stage with that. 1238 01:10:39,583 --> 01:10:41,417 Let's just get that right. That's exactly... 1239 01:10:41,500 --> 01:10:45,917 DAVIES: Carter basically gave us a development deal. 1240 01:10:46,000 --> 01:10:48,291 We tried probably eight or ten tracks, 1241 01:10:48,375 --> 01:10:51,875 still trying to find our way. We never got quite there. 1242 01:10:51,959 --> 01:10:53,542 Stay under me there, but just come down. 1243 01:10:53,625 --> 01:10:55,542 Keep the pulse under me. Don't lose the-- 1244 01:10:55,625 --> 01:10:56,959 CARTER: We record a few things, 1245 01:10:57,041 --> 01:11:00,125 and as much as Roger and I would get enthusiastic 1246 01:11:00,208 --> 01:11:02,041 about a song here and a song there, 1247 01:11:02,125 --> 01:11:05,583 it was never really the body of work that we needed. 1248 01:11:05,667 --> 01:11:07,709 (INDISTINCT CHATTER) 1249 01:11:07,792 --> 01:11:09,208 And then one day, 1250 01:11:09,291 --> 01:11:12,041 Carter rang me up, beside himself, 1251 01:11:12,125 --> 01:11:14,500 because there'd been a change of management 1252 01:11:14,583 --> 01:11:16,250 at Capital Records. 1253 01:11:16,333 --> 01:11:17,750 And they'd been in a meeting, 1254 01:11:17,834 --> 01:11:20,208 and they'd been going through the roster of artists, I guess, 1255 01:11:20,291 --> 01:11:25,417 and the new management didn't want Tina on the label. 1256 01:11:25,500 --> 01:11:27,291 CARTER: The new regime comes in... 1257 01:11:27,375 --> 01:11:30,250 -INTERVIEWER 9: Mm-hmm. -...and like any new regime, 1258 01:11:30,333 --> 01:11:32,542 they've got their own idea about what they wanna do. 1259 01:11:32,625 --> 01:11:35,583 -INTERVIEWER 9: Right. -CARTER: So I flip out, 1260 01:11:35,667 --> 01:11:40,458 I go downstairs, and I said, "Hey, this is my act." 1261 01:11:40,542 --> 01:11:42,875 And the classic quote is, 1262 01:11:42,959 --> 01:11:46,166 "Carter, you signed this old nigger douchebag?" 1263 01:11:46,250 --> 01:11:47,625 INTERVIEWER 9: Whoa. Whoa. 1264 01:11:47,709 --> 01:11:50,792 CARTER: "Yeah, yeah, I did, and I'm really happy about it. 1265 01:11:50,875 --> 01:11:52,625 Now pick up the phone and call Roger Davies." 1266 01:11:52,709 --> 01:11:55,083 -INTERVIEWER 9: Wow. -CARTER: He said, "No fucking way." 1267 01:11:55,166 --> 01:11:57,750 And I get on my knees, and I said, 1268 01:11:57,834 --> 01:12:00,792 "I'm now gonna beg you, and I'm not gonna get up 1269 01:12:00,875 --> 01:12:03,250 until you pick up the phone." 1270 01:12:03,333 --> 01:12:07,458 (LAUGHS) And there was a long stare down, 1271 01:12:07,542 --> 01:12:10,000 -and he picks up the phone. -INTERVIEWER 9: Wow. 1272 01:12:10,083 --> 01:12:13,166 CARTER: Well, he says, "Okay, she's back on the roster." 1273 01:12:13,250 --> 01:12:14,959 -INTERVIEWER 9: Mm-hmm. -"You finish your record, 1274 01:12:15,041 --> 01:12:16,125 but you understand 1275 01:12:16,208 --> 01:12:19,583 that we're gonna do nothing. That's all there is." 1276 01:12:26,917 --> 01:12:29,208 TINA: (ARCHIVAL) 1277 01:12:44,208 --> 01:12:45,709 (LAUGHS) 1278 01:12:47,000 --> 01:12:50,417 ♪ (SOMBER MUSIC PLAYING) ♪ 1279 01:12:51,917 --> 01:12:53,750 TINA: (PRESENT) I was held back... 1280 01:12:54,792 --> 01:12:56,542 for a very long time. 1281 01:12:57,625 --> 01:12:59,458 But I didn't suffer from those things, 1282 01:12:59,542 --> 01:13:01,542 and it's not necessary to suffer about that 1283 01:13:01,625 --> 01:13:04,667 because what can you do about it? You know? 1284 01:13:05,625 --> 01:13:07,458 So I didn't think about those things. 1285 01:13:10,041 --> 01:13:12,250 DAVIES: She always had a belief it was gonna be okay. 1286 01:13:12,333 --> 01:13:16,125 And I think you had to have that belief to get-- keep going. 1287 01:13:21,417 --> 01:13:24,625 Radio, as you know in America, was very categorized. 1288 01:13:24,709 --> 01:13:26,542 And there's pop, and there's R&B, there's urban, 1289 01:13:26,625 --> 01:13:30,166 then there's hot AC, and she wanted to sing rock. 1290 01:13:30,250 --> 01:13:34,583 And that wasn't really what they thought would work. 1291 01:13:34,667 --> 01:13:36,834 And that's when we knew that it had to be England, 1292 01:13:36,917 --> 01:13:39,208 'cause England and Europe got her. 1293 01:13:39,291 --> 01:13:42,166 -♪ (UPLIFTING MUSIC PLAYING) ♪ -(PLANE ENGINE REVVING) 1294 01:13:48,750 --> 01:13:54,291 TINA: (PRESENT) It was London, it was another whole experience 1295 01:13:54,834 --> 01:13:56,417 from America. 1296 01:13:56,500 --> 01:13:58,417 You know, it felt like home. 1297 01:13:58,500 --> 01:14:00,959 It felt so comfortable 1298 01:14:01,041 --> 01:14:03,041 that I could've been there all my life. 1299 01:14:06,208 --> 01:14:09,250 Well I didn't have that many friends in America 1300 01:14:09,333 --> 01:14:12,000 because, of course, Ike, 1301 01:14:12,083 --> 01:14:14,333 and then when I left Ike, 1302 01:14:15,041 --> 01:14:18,041 immediately, I went to work. 1303 01:14:20,500 --> 01:14:22,875 My sons were at home, they were fine. 1304 01:14:24,291 --> 01:14:26,542 My oldest was 28, um... 1305 01:14:26,625 --> 01:14:29,166 my youngest is moving well into his middle twenties, 1306 01:14:29,250 --> 01:14:31,709 so not really kids anymore. 1307 01:14:31,792 --> 01:14:34,083 I left everything and everybody behind. 1308 01:14:34,166 --> 01:14:36,375 I needed every minute of my brain 1309 01:14:37,041 --> 01:14:39,500 to map my life together. 1310 01:14:39,583 --> 01:14:41,041 (SPEAKING INDISTINCTLY) 1311 01:14:41,125 --> 01:14:43,750 HALL: It's almost like she had a coming of age 1312 01:14:43,834 --> 01:14:45,166 at 40 years old. 1313 01:14:45,250 --> 01:14:47,417 The fact that she has this voice, 1314 01:14:47,500 --> 01:14:50,333 this incredible, incredible voice, 1315 01:14:50,417 --> 01:14:53,750 I would say the industry didn't even really know what to do with. 1316 01:14:55,000 --> 01:14:57,291 LODER: Roger could see what could be done 1317 01:14:57,375 --> 01:14:59,291 when other people couldn't imagine 1318 01:14:59,375 --> 01:15:00,667 what it could become. 1319 01:15:00,750 --> 01:15:03,458 Said, "There's this new kind of production technique in England, 1320 01:15:03,542 --> 01:15:05,125 and there are these new people, 1321 01:15:05,208 --> 01:15:06,792 they're getting new sounds, 1322 01:15:06,875 --> 01:15:08,750 and you should be part of that." 1323 01:15:10,667 --> 01:15:13,083 DAVIES: I was collecting songs. I used to carry around 1324 01:15:13,166 --> 01:15:15,333 this leather bag full of cassettes 1325 01:15:15,417 --> 01:15:18,041 and asking a bunch of people and, you know, 1326 01:15:18,125 --> 01:15:20,500 Terry Britten, he was a bit of a hero of mine, 1327 01:15:20,583 --> 01:15:23,834 and he had songs I think might work for Tina. 1328 01:15:23,917 --> 01:15:26,834 -(INDISTINCT CHATTER) -Roger's tea. 1329 01:15:26,917 --> 01:15:29,667 ♪ ("WHAT'S LOVE GOT TO DO WITH IT" BY BUCKS FIZZ PLAYING) ♪ 1330 01:15:29,750 --> 01:15:32,458 "What's Love" is probably the worst demo ever done 1331 01:15:32,542 --> 01:15:35,667 to this date. I mean, there's no-- there's no, uh-- 1332 01:15:35,750 --> 01:15:36,959 (HUMS) ♪ Be-do-be-do ♪ 1333 01:15:37,041 --> 01:15:40,417 Just none of that stuff. Very white, very pop. 1334 01:15:41,041 --> 01:15:43,333 And nothing remotely 1335 01:15:43,417 --> 01:15:45,000 would say Tina Turner. 1336 01:15:45,083 --> 01:15:46,291 ♪ Only logical... ♪ 1337 01:15:46,375 --> 01:15:48,417 TERRY BRITTEN: Originally, it did go to an English band 1338 01:15:48,500 --> 01:15:50,291 called, um, Bucks Fizz. 1339 01:15:50,375 --> 01:15:52,083 They were really popular at the time 1340 01:15:52,166 --> 01:15:55,000 and, uh, I think they actually recorded it. 1341 01:15:55,083 --> 01:15:58,083 ♪ Whoa-oh-oh What's love got to do ♪ 1342 01:15:58,166 --> 01:16:00,500 ♪ Got to do with it? ♪ 1343 01:16:00,583 --> 01:16:04,667 ♪ What's love But a secondhand emotion? ♪ 1344 01:16:04,750 --> 01:16:06,625 -♪ (MUSIC STOPS ABRUPTLY) ♪ -I was convinced. 1345 01:16:06,709 --> 01:16:08,125 I thought "What's Love" was... 1346 01:16:09,083 --> 01:16:10,667 it could be a big song. 1347 01:16:11,375 --> 01:16:13,667 Tina never really liked it. 1348 01:16:13,750 --> 01:16:17,750 (SCOFFS) It was terrible. It was awful. It was... 1349 01:16:17,834 --> 01:16:21,834 I was rock and roll, I was not-- 1350 01:16:21,917 --> 01:16:24,417 That was a-- that was a pop song. 1351 01:16:24,500 --> 01:16:26,542 So Roger says, "All right, all right, all right. 1352 01:16:26,625 --> 01:16:28,250 Just one thing, you've gotta meet Terry Britten, 1353 01:16:28,333 --> 01:16:29,834 you've gotta meet him 'cause he's a great writer, 1354 01:16:29,917 --> 01:16:31,750 and maybe he can make some adjustments or whatever." 1355 01:16:31,834 --> 01:16:32,959 And I went, "All right." 1356 01:16:33,041 --> 01:16:34,917 ♪ (MUSIC PLAYING) ♪ 1357 01:16:35,000 --> 01:16:38,125 We walked in, and I didn't know what to expect at first, 1358 01:16:38,208 --> 01:16:40,083 and Terry was like a little leprechaun. 1359 01:16:40,166 --> 01:16:41,417 I mean, he's very short. 1360 01:16:41,500 --> 01:16:43,750 He was sitting there, and his legs were hanging. (LAUGHS) 1361 01:16:43,834 --> 01:16:47,542 There's just something about his legs hanging that I remember. 1362 01:16:47,625 --> 01:16:49,583 She came in, and immediately, she said, 1363 01:16:49,667 --> 01:16:51,417 "Well, you know I don't like that song, 1364 01:16:51,500 --> 01:16:52,667 and I don't wanna do that song, 1365 01:16:52,750 --> 01:16:55,000 and it's Roger-- Roger that wants me to do it." 1366 01:16:55,083 --> 01:16:57,417 Well, I said, "Well, you know, if it doesn't work out, 1367 01:16:57,500 --> 01:16:59,625 you won't use it, so let's give it a go." 1368 01:16:59,709 --> 01:17:03,417 -(INDISTINCT CHATTER) -♪ (QUIET MUSIC PLAYING) ♪ 1369 01:17:03,500 --> 01:17:05,667 TINA: I had to find a way to sing the song, 1370 01:17:05,750 --> 01:17:08,417 so he would say, uh, "Tina, sing this 1371 01:17:08,500 --> 01:17:09,625 how you would sing it." 1372 01:17:09,709 --> 01:17:14,041 So, okay. Then I applied my heavy voice to it and-- 1373 01:17:14,125 --> 01:17:16,458 (SINGING) ♪ Your hand Makes my pulse react... ♪ 1374 01:17:16,542 --> 01:17:18,417 BRITTEN: She was trying to get her head round it. 1375 01:17:18,500 --> 01:17:20,458 "How's this little... (IMITATES DRUMBEAT) 1376 01:17:20,542 --> 01:17:23,500 ...work?" Sort of thing, and, uh, I said to her, 1377 01:17:23,583 --> 01:17:25,792 "Tina, this is a jog." 1378 01:17:25,875 --> 01:17:28,792 And we both stood and jogged. 1379 01:17:28,875 --> 01:17:30,333 I said-- and-- 1380 01:17:30,417 --> 01:17:32,542 she was singing loud, and I went, "Quieter, quieter." 1381 01:17:32,625 --> 01:17:35,166 She said, "If I go any quieter, I'll be whispering." 1382 01:17:35,250 --> 01:17:38,834 I said, "Yeah, that's it." And we start to jog on this thing, 1383 01:17:38,917 --> 01:17:42,083 and suddenly she went, "I got it, I got it, I got it." 1384 01:17:42,166 --> 01:17:45,834 (SINGING) ♪ Oh, oh, oh, What's love got to do ♪ 1385 01:17:45,917 --> 01:17:48,125 ♪ Got to do with it? ♪ 1386 01:17:48,208 --> 01:17:53,166 ♪ What's love But a secondhand emotion? ♪ 1387 01:17:53,250 --> 01:17:57,417 ♪ What's love got to do Got to do with it? ♪ 1388 01:17:57,500 --> 01:18:02,166 ♪ Who needs a heart When a heart can be broken? ♪ 1389 01:18:02,250 --> 01:18:04,625 BRITTEN: I was stunned afterwards, after the session. 1390 01:18:04,709 --> 01:18:06,417 TINA: ♪ That I'm acting confused... ♪ 1391 01:18:06,500 --> 01:18:08,417 They weren't used to a strong voice 1392 01:18:08,500 --> 01:18:10,125 standing on top of music. 1393 01:18:10,208 --> 01:18:12,500 But I converted it and made it my own. 1394 01:18:12,583 --> 01:18:16,583 ♪ I tend to look dazed I read it someplace ♪ 1395 01:18:16,667 --> 01:18:19,166 ♪ I've got cause to be ♪ 1396 01:18:19,250 --> 01:18:21,834 ♪ There's a name for it... ♪ 1397 01:18:21,917 --> 01:18:23,083 BRITTEN: She said, "You know what? 1398 01:18:23,166 --> 01:18:25,208 People are gonna say this is a Tina Turner song. 1399 01:18:25,291 --> 01:18:27,291 It's not Tina doing a cover. 1400 01:18:28,333 --> 01:18:29,917 This is Tina Turner's song." 1401 01:18:30,000 --> 01:18:31,709 ♪ Whatever the reason ♪ 1402 01:18:31,792 --> 01:18:34,875 ♪ You do it for me Oh, oh, oh ♪ 1403 01:18:34,959 --> 01:18:38,208 ♪ What's love got to do Got to do with it? ♪ 1404 01:18:38,291 --> 01:18:41,458 TINA: (PRESENT) I knocked that album out in two weeks in the studio. 1405 01:18:41,542 --> 01:18:43,834 Done. Finished. 1406 01:18:43,917 --> 01:18:46,291 DAVIES: We just went from studio to studio, 1407 01:18:46,375 --> 01:18:48,333 and, literally, two or three weeks, 1408 01:18:48,417 --> 01:18:49,583 the album was done. 1409 01:18:49,667 --> 01:18:52,041 We turned up with an album that sold 20 million copies. 1410 01:18:52,125 --> 01:18:53,583 TINA: ♪ Can be broken... ♪ 1411 01:18:53,667 --> 01:18:56,583 DAVIES: When the album was out and we were in New York 1412 01:18:56,667 --> 01:18:59,000 at Tower Records doing a record signing, 1413 01:18:59,083 --> 01:19:02,875 and I got the call from our record company 1414 01:19:02,959 --> 01:19:05,917 that it had gone-- "What's Love" had gone to number one on Billboard. 1415 01:19:06,000 --> 01:19:07,208 INTERVIEWER 10: In Tower Records? 1416 01:19:07,291 --> 01:19:08,834 TINA: This was in Tower Records. 1417 01:19:08,917 --> 01:19:10,583 And I just jumped up and I said to everybody, "It's number one!" 1418 01:19:10,667 --> 01:19:12,458 And they all started cheering. It was wonderful. 1419 01:19:12,542 --> 01:19:14,792 INTERVIEWER 10: You know, when you said that, I honestly have to tell you, 1420 01:19:14,875 --> 01:19:16,750 I know it's gonna sound real corny, but I mean it, 1421 01:19:16,834 --> 01:19:18,250 when I saw you say that last night, 1422 01:19:18,333 --> 01:19:21,917 that this went number one today, I just, like, burst into tears 1423 01:19:22,000 --> 01:19:25,709 because, to me, it was like there is some justice after all. 1424 01:19:25,792 --> 01:19:27,291 I don't know if you feel that way about it, 1425 01:19:27,375 --> 01:19:30,291 but it was very moving. (SIGHS) Number one. 1426 01:19:30,875 --> 01:19:32,166 ♪ Oh, oh, oh ♪ 1427 01:19:32,250 --> 01:19:37,208 ♪ What's love got to do Got to do with it? ♪ 1428 01:19:37,291 --> 01:19:41,750 ♪ What's love But a secondhand emotion? ♪ 1429 01:19:41,834 --> 01:19:46,083 ♪ What's love got to do Got to do with it? ♪ 1430 01:19:46,166 --> 01:19:50,750 ♪ Who needs a heart When a heart can be broken? ♪ 1431 01:19:50,834 --> 01:19:53,375 ♪ What's love got to do Got to do... ♪ 1432 01:19:53,458 --> 01:19:55,667 DIANA ROSS: And the record of the year is 1433 01:19:55,750 --> 01:19:58,250 "What's Love Got to Do with It," Tina Turner. 1434 01:19:58,333 --> 01:20:00,041 (CHEERING AND APPLAUSE) 1435 01:20:10,458 --> 01:20:13,291 My goodness. This has been a wonderful evening. 1436 01:20:13,375 --> 01:20:16,375 I'd like to take this award 1437 01:20:16,458 --> 01:20:19,959 and give it to someone that's been wonderful to me 1438 01:20:20,041 --> 01:20:22,750 as a friend, and in business, 1439 01:20:22,834 --> 01:20:26,250 and in many ways, my manager, Roger Davies. 1440 01:20:26,333 --> 01:20:28,083 It's been a wonderful year. 1441 01:20:28,875 --> 01:20:32,583 (CHEERING AND APPLAUSE) 1442 01:20:32,667 --> 01:20:34,417 TINA: (PRESENT) My Private Dancer album, 1443 01:20:34,500 --> 01:20:36,625 no, I don't consider it a comeback album. 1444 01:20:36,709 --> 01:20:38,625 Tina had never arrived. 1445 01:20:38,709 --> 01:20:41,333 It was Tina's debut for the first time, 1446 01:20:41,417 --> 01:20:43,458 and this was my first album. 1447 01:20:44,125 --> 01:20:46,041 ANNOUNCER 3: Tina Turner! 1448 01:20:47,041 --> 01:20:49,000 ANNOUNCER 4: Tina Turner! 1449 01:20:49,083 --> 01:20:51,458 (CHEERING) 1450 01:20:51,542 --> 01:20:53,375 ♪ (INSPIRING MUSIC PLAYING) ♪ 1451 01:20:53,458 --> 01:20:55,333 DAVIES: It reached a stage where, 1452 01:20:55,417 --> 01:20:58,250 after Private Dancer, it was unbelievably big. 1453 01:20:59,417 --> 01:21:01,875 It was a runaway train. 1454 01:21:01,959 --> 01:21:03,834 ANNOUNCER 5: When you're hot, you're hot, 1455 01:21:03,917 --> 01:21:05,792 and this lady is the hottest. 1456 01:21:05,875 --> 01:21:07,959 -Here's... -Tina Turner! 1457 01:21:08,041 --> 01:21:09,750 (CHEERING) 1458 01:21:09,834 --> 01:21:11,333 FAN 1: I had my boyfriend standing in line 1459 01:21:11,417 --> 01:21:12,959 since 3:00 in the morning to get these tickets. 1460 01:21:13,041 --> 01:21:14,750 I said, "That's it, the relationship's over 1461 01:21:14,834 --> 01:21:16,083 unless you get me these tickets." 1462 01:21:16,166 --> 01:21:18,166 And if she isn't sexy, I don't know who is. 1463 01:21:18,250 --> 01:21:20,208 FAN 2: Give our honors to Tina Turner. 1464 01:21:20,291 --> 01:21:21,583 Stupenda, stupenda. 1465 01:21:21,667 --> 01:21:25,166 (SPEAKING ITALIAN) 1466 01:21:25,250 --> 01:21:29,041 (ANNOUNCER 6 SPEAKING GERMAN) ...Tina Turner. 1467 01:21:29,125 --> 01:21:31,542 DAVIES: Um, Private Dancer, I think we ended up doing 1468 01:21:31,625 --> 01:21:33,333 a hundred and fifty concerts. 1469 01:21:35,250 --> 01:21:37,500 And then we went on to break every rule. 1470 01:21:39,500 --> 01:21:43,125 On that album, we did the biggest tour we've ever done. 1471 01:21:43,208 --> 01:21:46,041 We played 230 shows in 18 months, 1472 01:21:46,125 --> 01:21:47,333 everywhere in the world. 1473 01:21:48,709 --> 01:21:50,959 (CROWD CHEERING) 1474 01:21:51,041 --> 01:21:55,542 This 50-year-old woman playing at stadiums throughout Europe 1475 01:21:55,625 --> 01:21:58,834 and having an audience ranging from about 15 to 60 1476 01:21:58,917 --> 01:22:00,667 was pretty amazing. 1477 01:22:00,750 --> 01:22:03,458 -She makes you feel young. She's alive, she's bouncing. -FAN 4: I know, I feel like 1478 01:22:03,542 --> 01:22:06,750 -I'm 20 years younger. -FAN 3: I can't wait for them to come back. 1479 01:22:06,834 --> 01:22:09,834 TINA: (ARCHIVAL) When I'm on stage, and it's like 20,000 people, 1480 01:22:09,917 --> 01:22:11,709 then you know that it's all worthwhile, you know. 1481 01:22:11,792 --> 01:22:14,166 But it's really a lot that goes on behind the scenes 1482 01:22:14,250 --> 01:22:15,667 when you-- I've never been this big before, 1483 01:22:15,750 --> 01:22:18,834 you know what I mean? And you-- Uh, it's just incredible. 1484 01:22:19,834 --> 01:22:21,417 DAVIES: We didn't stop. 1485 01:22:21,500 --> 01:22:24,291 We played the small halls, we played the clubs, 1486 01:22:24,375 --> 01:22:26,417 we did all the TVs, we got to arenas. 1487 01:22:26,500 --> 01:22:28,500 We eventually fulfilled her dream 1488 01:22:28,583 --> 01:22:30,917 and filled the stadiums. 1489 01:22:31,000 --> 01:22:35,333 That concert in Rio was 186,000 people there. 1490 01:22:36,834 --> 01:22:40,583 AUDIENCE: (SHOUTS) Tina! Tina! 1491 01:22:40,667 --> 01:22:42,250 Hello, Rio! 1492 01:22:42,333 --> 01:22:44,709 (CHEERING) 1493 01:22:44,792 --> 01:22:47,625 Give it to me. Hello, Rio! 1494 01:22:47,709 --> 01:22:50,125 (CHEERING AND APPLAUSE) 1495 01:22:50,208 --> 01:22:53,458 (KISSING LIPS) 1496 01:22:53,542 --> 01:22:55,458 TINA: You can't imagine what it was like for me 1497 01:22:55,542 --> 01:22:57,458 to finally to stand there and draw all those people. 1498 01:22:57,542 --> 01:22:59,583 It's a feeling of, like, "I did it," 1499 01:22:59,667 --> 01:23:01,166 and it's really genuine. 1500 01:23:01,250 --> 01:23:04,125 It's-- it is almost like magic, because you're standing there, 1501 01:23:04,208 --> 01:23:07,083 and they're really giving you love. 1502 01:23:07,166 --> 01:23:08,500 TINA: Are you ready? 1503 01:23:08,583 --> 01:23:09,750 (AUDIENCE SCREAMS) 1504 01:23:09,834 --> 01:23:12,333 TINA: Are you ready for me? 1505 01:23:12,417 --> 01:23:14,750 I'm ready for you. Hello. 1506 01:23:14,834 --> 01:23:18,375 ♪ ("I CAN'T STAND THE RAIN" BY TINA TURNER PLAYING) ♪ 1507 01:23:35,750 --> 01:23:39,917 (SINGING) ♪ I can't stand the rain ♪ 1508 01:23:40,000 --> 01:23:42,083 ♪ Against my window ♪ 1509 01:23:44,375 --> 01:23:47,166 ♪ Bringing back sweet memories ♪ 1510 01:23:47,250 --> 01:23:50,041 ♪ I can't stand the rain ♪ 1511 01:23:50,125 --> 01:23:52,166 ♪ Do you remember? ♪ 1512 01:23:52,250 --> 01:23:54,125 ♪ Uh-uh ♪ 1513 01:23:54,208 --> 01:23:56,417 ♪ How sweet it used to be ♪ 1514 01:24:00,000 --> 01:24:02,583 ♪ When we were together ♪ 1515 01:24:05,083 --> 01:24:08,125 ♪ Everything was so grand ♪ 1516 01:24:10,625 --> 01:24:13,125 ♪ Now that we've parted ♪ 1517 01:24:14,417 --> 01:24:16,792 -♪ There's the one sound ♪ -♪ One sound ♪ 1518 01:24:16,875 --> 01:24:18,792 ♪ I just can't stand ♪ 1519 01:24:18,875 --> 01:24:20,792 ♪ I can't stand the rain ♪ 1520 01:24:21,959 --> 01:24:23,500 ♪ Against my window ♪ 1521 01:24:26,250 --> 01:24:28,959 ♪ Bringing back sweet memories ♪ 1522 01:24:29,041 --> 01:24:31,834 ♪ I can't stand the rain ♪ 1523 01:24:32,500 --> 01:24:34,667 ♪ Against my window ♪ 1524 01:24:36,625 --> 01:24:39,125 ♪ 'Cause he ain't here with me ♪ 1525 01:24:39,959 --> 01:24:41,125 ♪ Oh, oh ♪ 1526 01:24:42,458 --> 01:24:45,291 ♪ When we were together ♪ 1527 01:24:47,417 --> 01:24:50,834 ♪ Everything was so grand ♪ 1528 01:24:52,709 --> 01:24:56,875 ♪ Ah, bringing back some Sweet memories ♪ 1529 01:24:56,959 --> 01:24:59,000 -♪ One sound ♪ -BACKING SINGERS: ♪ One sound ♪ 1530 01:24:59,083 --> 01:25:01,458 ♪ I just can't stand ♪ 1531 01:25:01,542 --> 01:25:03,667 -♪ Rain ♪ -♪ Rain ♪ 1532 01:25:04,125 --> 01:25:05,375 ♪ Rain ♪ 1533 01:25:06,667 --> 01:25:08,542 -♪ Rain ♪ -♪ Rain ♪ 1534 01:25:09,333 --> 01:25:11,709 ♪ Rain, whoo! ♪ 1535 01:25:11,792 --> 01:25:14,291 -♪ Yeah ♪ -♪ (SONG CONCLUDES) ♪ 1536 01:25:14,375 --> 01:25:16,875 (CHEERING AND APPLAUSE) 1537 01:25:18,333 --> 01:25:19,959 TINA: Thank you. 1538 01:25:25,500 --> 01:25:27,250 (APPLAUSE FADES) 1539 01:25:27,333 --> 01:25:29,792 (ENGINE REVVING) 1540 01:25:46,542 --> 01:25:48,333 (REVVING STOPS ABRUPTLY) 1541 01:25:51,583 --> 01:25:55,583 LODER: In 1985, she signed on to do the third Mad Max movie, 1542 01:25:55,667 --> 01:25:56,959 Beyond Thunderdome. 1543 01:25:57,041 --> 01:25:58,709 Rolling Stones sent me to cover this. 1544 01:25:58,792 --> 01:26:00,417 Great, I would love to cover this. 1545 01:26:01,417 --> 01:26:03,959 She was the biggest pop star in the world. 1546 01:26:04,041 --> 01:26:06,417 I mean, it was already clear that there were gonna be people 1547 01:26:06,500 --> 01:26:08,291 doing these quickie bios of Tina Turner, 1548 01:26:08,375 --> 01:26:10,333 which I thought was really tacky, so I get over there 1549 01:26:10,417 --> 01:26:12,208 and I talk to Roger, and I said, "You know, 1550 01:26:12,291 --> 01:26:15,500 maybe you should have someone do a book. 1551 01:26:15,583 --> 01:26:17,291 You know, do an actual biography. 1552 01:26:17,375 --> 01:26:19,458 And... could be me. 1553 01:26:19,542 --> 01:26:20,834 I mean, could be anybody, you know. 1554 01:26:20,917 --> 01:26:22,917 -I don't want to be pushy." -PRODUCER: You pitched to them? 1555 01:26:23,000 --> 01:26:25,583 Oh, yeah. Well, I brought up the possibility 1556 01:26:25,667 --> 01:26:27,625 of doing something to forestall 1557 01:26:27,709 --> 01:26:29,750 all these bad books that would be coming out. 1558 01:26:30,583 --> 01:26:33,166 DAVIES: When she became successful, 1559 01:26:33,250 --> 01:26:35,834 the past came up, and it got a lot of press 1560 01:26:35,917 --> 01:26:38,333 'cause she was also hugely popular. 1561 01:26:38,417 --> 01:26:40,917 People continued to ask about Ike, 1562 01:26:41,000 --> 01:26:43,709 even after she had had huge solo success. 1563 01:26:43,792 --> 01:26:45,542 They'd bring up the same old stuff, 1564 01:26:45,625 --> 01:26:47,333 over and over, in every interview. 1565 01:26:47,417 --> 01:26:48,667 We couldn't stop it. 1566 01:26:48,750 --> 01:26:52,750 Ike was, uh, arrested on some cocaine charges in Pasadena. 1567 01:26:52,834 --> 01:26:54,458 -Oh. -INTERVIEWER 11: Yeah, for possession 1568 01:26:54,542 --> 01:26:58,083 and-- and conspiracy, possibly for dealing. 1569 01:26:58,667 --> 01:27:00,709 Any reaction to that? 1570 01:27:00,792 --> 01:27:03,917 I, you know, I'd like to hear all positive things. 1571 01:27:04,000 --> 01:27:06,083 I'd love to hear that Ike had a record deal, 1572 01:27:06,166 --> 01:27:08,917 -and he was producing an album on himself. -INTERVIEWER 11: Yeah. 1573 01:27:09,834 --> 01:27:12,000 TINA: (ARCHIVAL) 1574 01:27:13,083 --> 01:27:14,250 ARRINGTON: Right. 1575 01:27:14,333 --> 01:27:17,291 TINA: 1576 01:27:23,625 --> 01:27:26,125 -ARRINGTON: Mm-hmm. -TINA: 1577 01:27:28,792 --> 01:27:33,166 -ARRINGTON: Yeah. -TINA: 1578 01:27:33,250 --> 01:27:35,667 I think that she said at the time that, "I can do this 1579 01:27:35,750 --> 01:27:37,083 and not talk about it again. 1580 01:27:37,166 --> 01:27:38,333 Everybody's talking about it. 1581 01:27:38,417 --> 01:27:40,250 Everybody has this idea about it, thinks this or that. 1582 01:27:40,333 --> 01:27:42,417 So, I know what happened. I'll say what happened. 1583 01:27:42,500 --> 01:27:44,500 Then I won't have to address it again." 1584 01:27:44,583 --> 01:27:45,583 (INDISTINCT CLAMOR) 1585 01:27:45,667 --> 01:27:48,083 REPORTER: A long line of fans waited outside 1586 01:27:48,166 --> 01:27:50,375 a Barnes and Noble bookstore for Tina. 1587 01:27:50,458 --> 01:27:52,959 The soulful singer is now also an author, 1588 01:27:53,041 --> 01:27:54,750 and she was in town, anxious and willing 1589 01:27:54,834 --> 01:27:56,917 to autograph a few hundred copies. 1590 01:27:57,000 --> 01:27:58,667 FAN 5: It was worth getting sweaty, 1591 01:27:58,750 --> 01:28:00,000 going up there, pushing people, 1592 01:28:00,083 --> 01:28:02,542 getting them out the way, seeing Tina Turner. I love her. 1593 01:28:02,625 --> 01:28:04,125 "What's Love Got to Do with It"? 1594 01:28:04,208 --> 01:28:05,667 TV ANCHOR 2: Tina's book, by the way, 1595 01:28:05,750 --> 01:28:08,417 tracing her rise and fall and rise again, 1596 01:28:08,500 --> 01:28:10,000 is titled I, Tina. 1597 01:28:11,250 --> 01:28:14,166 LODER: It was a top ten New York Times best seller, 1598 01:28:14,250 --> 01:28:15,750 strict because of Tina Turner. 1599 01:28:15,834 --> 01:28:17,375 I mean, they could put an empty book out 1600 01:28:17,458 --> 01:28:20,667 with her picture on the cover, that book would have sold. 1601 01:28:20,750 --> 01:28:24,583 She just felt maybe it will put it to bed 1602 01:28:24,667 --> 01:28:26,083 once and for all. 1603 01:28:26,166 --> 01:28:28,625 Which, of course, it didn't. It just made it bigger. (CHUCKLES) 1604 01:28:28,709 --> 01:28:30,959 RADIO HOST: Albuquerque, New Mexico, hello. 1605 01:28:31,041 --> 01:28:32,291 FAN 6: (ON PHONE) I read your book, 1606 01:28:32,375 --> 01:28:34,792 and it's totally changed my life. 1607 01:28:34,875 --> 01:28:36,709 I love you. I thank you. 1608 01:28:38,041 --> 01:28:40,959 HALL: That story reached so many people 1609 01:28:41,041 --> 01:28:44,000 who felt like they had to kinda keep their secrets 1610 01:28:44,083 --> 01:28:45,834 locked away deep down. 1611 01:28:45,917 --> 01:28:48,291 But then I wonder that thing of, like, 1612 01:28:48,375 --> 01:28:50,583 it's like a Pandora's box situation, right? 1613 01:28:50,667 --> 01:28:53,041 Like, "Damn, I gotta tell this story again?" 1614 01:28:54,083 --> 01:28:57,500 ♪ (INSPIRING MUSIC PLAYING) ♪ 1615 01:28:57,583 --> 01:29:00,166 GRAAM: And then the film came out, 1616 01:29:00,250 --> 01:29:04,083 and just kinda brought more attention to her name, 1617 01:29:04,166 --> 01:29:07,166 for people to see what happened and everything. 1618 01:29:07,250 --> 01:29:09,125 -LAURENCE FISHBURNE: What'd you say? -Don't start with me. 1619 01:29:09,208 --> 01:29:11,083 I ain't in the mood today, all right? 1620 01:29:11,166 --> 01:29:13,041 It's tangible in the sense you're watching it. 1621 01:29:13,125 --> 01:29:14,625 I'll give up all that other stuff, 1622 01:29:14,709 --> 01:29:16,333 but only if I get to keep my name. 1623 01:29:16,417 --> 01:29:19,250 I worked too hard for it, Your Honor. 1624 01:29:19,333 --> 01:29:21,417 GRAAM: That just changed everything for her. 1625 01:29:22,834 --> 01:29:25,959 BASSET: That role changed my life. 1626 01:29:26,041 --> 01:29:30,333 I mean, I'm not Tina, and I've got so much, 1627 01:29:30,417 --> 01:29:32,458 uh, love from others. 1628 01:29:32,542 --> 01:29:34,542 Men, women who have come up and said, 1629 01:29:34,625 --> 01:29:39,375 "You playing her in that story changed my life." 1630 01:29:39,458 --> 01:29:42,500 ARRINGTON: (PRESENT) The story goes out into people's houses, 1631 01:29:42,583 --> 01:29:45,625 and then it becomes a part of their life as well. 1632 01:29:45,709 --> 01:29:47,417 It's Tina Day! 1633 01:29:47,500 --> 01:29:49,917 (CHEERING AND APPLAUSE) 1634 01:29:52,041 --> 01:29:54,458 TINA: (ARCHIVAL) That's hard to wrap your mind around, 1635 01:29:54,542 --> 01:29:56,834 that your life has been an inspiration, 1636 01:29:56,917 --> 01:29:58,458 maybe the worst parts of your life 1637 01:29:58,542 --> 01:30:00,125 has been an inspiration. 1638 01:30:00,208 --> 01:30:02,000 TV HOST: We have 50,000 letters downstairs 1639 01:30:02,083 --> 01:30:05,709 from women who have also been through it and survived. 1640 01:30:05,792 --> 01:30:08,667 Tina did it, so can you, let's celebrate. 1641 01:30:08,750 --> 01:30:11,500 (CHEERING AND APPLAUSE) 1642 01:30:13,166 --> 01:30:15,959 ARRINGTON: She's no longer in control of that story. 1643 01:30:16,041 --> 01:30:17,959 That's what happens to icons. 1644 01:30:19,250 --> 01:30:22,000 Anna Mae Bullock has her own life. 1645 01:30:22,083 --> 01:30:24,667 Tina Turner belongs to the world. 1646 01:30:28,667 --> 01:30:30,125 (CROWD CHEERING) 1647 01:30:34,500 --> 01:30:36,667 (APPLAUSE) 1648 01:30:38,083 --> 01:30:40,542 ♪ (MUSIC FADES) ♪ 1649 01:30:40,625 --> 01:30:42,250 INTERVIEWER 12: Miss Turner, welcome to Venice. 1650 01:30:42,333 --> 01:30:44,458 Can you give me your views on the film? 1651 01:30:45,792 --> 01:30:48,375 Well, I haven't as yet seen the film. 1652 01:30:49,875 --> 01:30:51,917 -INTERVIEWER 13: -(CLEARS THROAT) 1653 01:30:52,000 --> 01:30:58,250 Well, I'm not so thrilled about thinking about the past 1654 01:30:58,333 --> 01:31:02,875 and how I lived my life, it was, uh-- made a story-- 1655 01:31:02,959 --> 01:31:05,333 the story was actually written 1656 01:31:05,417 --> 01:31:08,083 so that I would no longer have to discuss the issue. 1657 01:31:08,166 --> 01:31:11,125 I don't love that it's always talked about, you see. 1658 01:31:11,208 --> 01:31:13,917 I made a point of-- of just putting the news out 1659 01:31:14,000 --> 01:31:15,417 to stop the thing, 1660 01:31:15,500 --> 01:31:17,125 so that I could go on with my life. 1661 01:31:17,208 --> 01:31:20,583 And this constant reminder is not so good. 1662 01:31:20,667 --> 01:31:22,792 You know, I'm not so happy about it. 1663 01:31:22,875 --> 01:31:24,875 So, do I want to sit in a screen 1664 01:31:24,959 --> 01:31:27,583 and watch the violence and all the brutality? 1665 01:31:27,667 --> 01:31:29,709 No. That's why I haven't seen it. 1666 01:31:29,792 --> 01:31:32,000 (APPLAUSE) 1667 01:31:34,125 --> 01:31:36,125 ERWIN BACH: You know, when you talk to journalists 1668 01:31:36,208 --> 01:31:40,458 over and over for 20 or 30 or 40 years, 1669 01:31:40,542 --> 01:31:42,458 memories come back. 1670 01:31:42,542 --> 01:31:44,917 She has partly dreams about it, 1671 01:31:45,000 --> 01:31:47,125 uh, they're not pleasant. 1672 01:31:47,208 --> 01:31:48,709 So I think these are these things 1673 01:31:48,792 --> 01:31:51,875 that come back to her when she opens that book. 1674 01:31:51,959 --> 01:31:55,792 It's like when soldiers come back from the war. 1675 01:31:55,875 --> 01:32:00,500 It's not an easy time to-- to have this in your memory, 1676 01:32:00,583 --> 01:32:04,166 and then try to forget. I see it a little bit like that. 1677 01:32:04,250 --> 01:32:07,083 INTERVIEWER 14: Tina today is a world superstar, um, 1678 01:32:07,166 --> 01:32:10,125 but there was a point where you had to become the Comeback Kid. 1679 01:32:10,834 --> 01:32:12,041 How did you get the strength 1680 01:32:12,125 --> 01:32:13,959 to get out of that situation with Ike? 1681 01:32:14,041 --> 01:32:17,000 Oh, we are going to talk about him, aren't we? 1682 01:32:17,083 --> 01:32:19,667 (LAUGHS) Okay. 1683 01:32:19,750 --> 01:32:24,125 I need my fan now, I just had a flush. (LAUGHS) 1684 01:32:24,208 --> 01:32:25,834 How did I get out of that situation? 1685 01:32:25,917 --> 01:32:29,000 Let me figure out how I can talk about that, two seconds. 1686 01:32:29,083 --> 01:32:30,875 No, no, I know how to get out of it. 1687 01:32:30,959 --> 01:32:33,542 I'm just going to say, um, something. 1688 01:32:33,625 --> 01:32:35,417 Give me two seconds here. 1689 01:32:35,500 --> 01:32:37,834 TINA: (PRESENT) You don't want to think about those times, you know. 1690 01:32:37,917 --> 01:32:40,166 You just want to-- it to just to go away. 1691 01:32:40,250 --> 01:32:41,875 But if you're gonna keep bringing it up, 1692 01:32:41,959 --> 01:32:44,917 the brain is saying, "Oh, you want to remember that." 1693 01:32:45,000 --> 01:32:46,875 ♪ (SOMBER MUSIC PLAYING) ♪ 1694 01:32:46,959 --> 01:32:49,625 That scene comes back. 1695 01:32:49,709 --> 01:32:53,667 You-- you're dreaming. It's-- The real picture is there. 1696 01:32:53,750 --> 01:32:56,458 It's-- it's like a curse. 1697 01:32:59,375 --> 01:33:01,000 INTERVIEWER 15: You raised a son by him, 1698 01:33:01,083 --> 01:33:02,208 a son by another man, 1699 01:33:02,291 --> 01:33:04,583 and two of Ike's kids by other women. 1700 01:33:04,667 --> 01:33:07,417 There were always other women on the scene. 1701 01:33:07,500 --> 01:33:09,291 What was that like for you? 1702 01:33:09,375 --> 01:33:11,166 INTERVIEWER 16: When you were married to Ike, 1703 01:33:11,250 --> 01:33:14,333 what was the absolutely worse moment? 1704 01:33:14,417 --> 01:33:17,083 INTERVIEWER 17: What do you think attracts women to bad men? 1705 01:33:17,166 --> 01:33:18,917 INTERVIEWER 18: Is there a real lowlight? 1706 01:33:19,000 --> 01:33:21,125 Something you'd love to forget? 1707 01:33:21,208 --> 01:33:23,500 INTERVIEWER 19: And of course, the book and the movie features 1708 01:33:23,583 --> 01:33:26,083 your allegations about his bashings. 1709 01:33:26,166 --> 01:33:27,709 Tell me about that? 1710 01:33:27,792 --> 01:33:29,250 TINA: (ARCHIVAL) I'm-- I'm past it. 1711 01:33:29,333 --> 01:33:31,917 It's been 16 years since I haven't been with Ike, 1712 01:33:32,000 --> 01:33:34,667 and the movie and the book is bringing me back to the past, 1713 01:33:34,750 --> 01:33:36,750 of something that was really awful. 1714 01:33:36,834 --> 01:33:38,917 My life is wonderful at the moment. 1715 01:33:39,000 --> 01:33:40,417 I'm a happy person now, 1716 01:33:40,500 --> 01:33:43,291 and I don't dwell on unhappiness. 1717 01:33:48,834 --> 01:33:51,500 TINA: (PRESENT) The trauma is still so deep that to go back there 1718 01:33:51,583 --> 01:33:55,000 makes you feel like you're actually going back. 1719 01:33:56,333 --> 01:33:59,291 If you don't address the wounds of your past, 1720 01:33:59,375 --> 01:34:01,542 you continue to bleed. 1721 01:34:05,000 --> 01:34:06,917 GRAAM: You know, she just-- she always had the feeling 1722 01:34:07,000 --> 01:34:08,500 that she wasn't loved. 1723 01:34:08,583 --> 01:34:12,166 She wasn't, you know, she wasn't a wanted child. 1724 01:34:15,875 --> 01:34:19,250 I think with her mom, I think that's still the-- 1725 01:34:19,333 --> 01:34:22,667 the dramatization of being left as a child, 1726 01:34:22,750 --> 01:34:24,208 that never left. 1727 01:34:26,542 --> 01:34:29,834 ♪ (MUSIC FADES) ♪ 1728 01:34:31,792 --> 01:34:34,875 TINA: (PRESENT) Ma was, uh, not kind. 1729 01:34:36,709 --> 01:34:39,542 When I became a star, of course, back then, 1730 01:34:39,625 --> 01:34:42,417 she was happy because I bought her a house. 1731 01:34:42,500 --> 01:34:45,667 I did all kinds of things for her. She was my mother. 1732 01:34:45,750 --> 01:34:48,208 You know, I was trying to make her comfortable, 1733 01:34:48,291 --> 01:34:51,333 because she didn't have a husband, she was alone. 1734 01:34:51,417 --> 01:34:53,625 But she still didn't like me. 1735 01:34:55,625 --> 01:34:57,834 Even after I became Tina, 1736 01:34:57,917 --> 01:34:59,792 Ma still was a little bit, 1737 01:34:59,875 --> 01:35:01,500 "Who did that?" or "Who did this?" 1738 01:35:01,583 --> 01:35:02,750 And I said, "I did it, Ma." 1739 01:35:02,834 --> 01:35:05,500 You know, I was happy to show my mother what I did. 1740 01:35:05,583 --> 01:35:08,125 I had a house, I had gotten a car, 1741 01:35:08,208 --> 01:35:09,875 and she said, "I don't believe it. 1742 01:35:09,959 --> 01:35:12,542 You're my daughter, I know you didn't--" 1743 01:35:12,625 --> 01:35:14,750 Something to this affect. 1744 01:35:16,000 --> 01:35:17,959 Yeah, she... (SCOFFS) 1745 01:35:19,875 --> 01:35:21,792 She didn't want. She didn't want me, 1746 01:35:21,875 --> 01:35:23,250 she didn't want to be around me, 1747 01:35:23,333 --> 01:35:25,625 even though she wanted my success. 1748 01:35:25,709 --> 01:35:30,333 But I did for her as if she loved me. 1749 01:35:34,458 --> 01:35:37,709 INTERVIEWER 20: She's had a few kind of ups and downs 1750 01:35:37,792 --> 01:35:38,750 in her life as well. 1751 01:35:38,834 --> 01:35:41,208 It hasn't-- it hasn't been all happy. 1752 01:35:41,291 --> 01:35:44,041 -Right. -INTERVIEWER 20: Um... 1753 01:35:44,125 --> 01:35:47,792 When-- when she's unhappy, how-- how does she deal with it? 1754 01:35:51,333 --> 01:35:53,792 I would say she... 1755 01:35:57,166 --> 01:36:00,542 She did a great job of dealing with it, because... 1756 01:36:01,667 --> 01:36:03,709 she would figure out the problem 1757 01:36:03,792 --> 01:36:05,667 and how to handle it. 1758 01:36:08,166 --> 01:36:10,834 INTERVIEWER 20: Would she kind of come running home to you crying? 1759 01:36:10,917 --> 01:36:15,208 No, no, no, no, she figured that out on her own. 1760 01:36:15,291 --> 01:36:18,125 INTERVIEWER 20: Have you had any particularly... 1761 01:36:18,208 --> 01:36:21,417 any particular moments that you were really proud of? 1762 01:36:21,500 --> 01:36:24,208 (CLICKS TONGUE) 1763 01:36:24,291 --> 01:36:28,166 Well, I've been proud of her ever since she started singing. 1764 01:36:29,166 --> 01:36:30,667 But it's like... 1765 01:36:32,000 --> 01:36:36,375 a person-- some people's afraid to climb a ladder 1766 01:36:36,458 --> 01:36:38,417 unless someone's holding it. 1767 01:36:39,375 --> 01:36:40,792 But she's not. 1768 01:36:40,875 --> 01:36:43,166 Once she make that first step on that ladder, 1769 01:36:43,250 --> 01:36:46,875 she keep climbing up, up, up, up. 1770 01:36:47,500 --> 01:36:48,875 She's not afraid. 1771 01:36:49,375 --> 01:36:50,542 She'll try it. 1772 01:36:51,583 --> 01:36:54,166 She's not afraid to try anything. 1773 01:36:59,166 --> 01:37:01,458 LODER: (ARCHIVAL) Do you think that now, after all the-- 1774 01:37:01,542 --> 01:37:04,041 I mean, you've risen to the top of the entertainment field, 1775 01:37:04,125 --> 01:37:05,458 where you've maybe sacrificed love for-- 1776 01:37:05,542 --> 01:37:06,792 -TINA: Rising. -LODER: This is what-- 1777 01:37:06,875 --> 01:37:08,083 This is what readers will say, now. 1778 01:37:08,166 --> 01:37:10,000 "She has no-- she has no love in her life." 1779 01:37:10,083 --> 01:37:12,458 TINA: Oh, Kurt, we're gonna get really heavy now 1780 01:37:12,542 --> 01:37:13,750 because I'm drinking. 1781 01:37:13,834 --> 01:37:15,291 -You're gonna find out. -LODER: Oh, good. (LAUGHS) 1782 01:37:15,375 --> 01:37:20,000 TINA: I have not received love almost ever in my life. 1783 01:37:20,083 --> 01:37:21,500 I did not have it with my mother, 1784 01:37:21,583 --> 01:37:23,500 and my father from the beginning of birth. 1785 01:37:23,583 --> 01:37:24,709 And I survived. 1786 01:37:24,792 --> 01:37:27,208 Why did I get so far without love, Kurt? 1787 01:37:27,291 --> 01:37:29,834 I've never had it. And it-- and if I cry here, 1788 01:37:29,917 --> 01:37:31,166 it doesn't mean that I pity myself, 1789 01:37:31,250 --> 01:37:33,625 it means that tears come with certain memories. 1790 01:37:33,709 --> 01:37:35,125 LODER: No. Tears are not bad. 1791 01:37:35,208 --> 01:37:39,917 TINA: I have had not one love affair 1792 01:37:40,000 --> 01:37:43,667 that was genuine and sustained itself. 1793 01:37:43,750 --> 01:37:45,875 Not one. 1794 01:37:45,959 --> 01:37:47,583 Kurt, I've been through... 1795 01:37:47,667 --> 01:37:49,917 -(FIST THUDS) -...fucking tons of heartbreak. 1796 01:37:50,000 --> 01:37:52,917 I have analyzed it. I said, "What's wrong with me?" 1797 01:37:53,000 --> 01:37:55,750 I've looked in the mirror with myself stripped of makeup 1798 01:37:55,834 --> 01:37:57,458 and without hair. 1799 01:37:57,542 --> 01:37:59,834 (VOICE BREAKS) Why can't someone see the beauty 1800 01:37:59,917 --> 01:38:02,291 in the woman it is that I am? 1801 01:38:02,375 --> 01:38:05,041 Not a goddamn person that found it. 1802 01:38:05,125 --> 01:38:08,667 ♪ (MELANCHOLIC MUSIC PLAYING) ♪ 1803 01:39:08,542 --> 01:39:10,709 (CROWD CHEERING) 1804 01:39:10,792 --> 01:39:13,875 ♪ ("HELP!" BY TINA TURNER PLAYING) ♪ 1805 01:39:25,834 --> 01:39:27,959 (SINGING) ♪ When I was younger ♪ 1806 01:39:28,041 --> 01:39:33,291 ♪ So much younger than today ♪ 1807 01:39:33,375 --> 01:39:40,542 ♪ I never needed anybody's Help in any way ♪ 1808 01:39:41,750 --> 01:39:48,625 ♪ Now those days are gone I'm not so self-assured ♪ 1809 01:39:48,709 --> 01:39:52,417 ♪ Now I find I've changed my mind ♪ 1810 01:39:52,500 --> 01:39:56,083 ♪ And opened up the doors ♪ 1811 01:39:56,166 --> 01:40:01,875 ♪ So help me if you can I'm feeling down ♪ 1812 01:40:03,917 --> 01:40:10,583 ♪ And I do appreciate you Being round ♪ 1813 01:40:12,041 --> 01:40:17,750 ♪ Help me get my feet Back on the ground ♪ 1814 01:40:19,083 --> 01:40:24,917 ♪ Won't you please Please, help me ♪ 1815 01:40:29,291 --> 01:40:36,375 ♪ And now my life has changed In, oh, so many ways ♪ 1816 01:40:36,458 --> 01:40:43,041 ♪ My independence Seems to vanish in the haze ♪ 1817 01:40:44,208 --> 01:40:47,000 ♪ And every now and then ♪ 1818 01:40:47,083 --> 01:40:50,917 ♪ I feel so insecure ♪ 1819 01:40:51,000 --> 01:40:54,041 ♪ I know that I just need you ♪ 1820 01:40:54,125 --> 01:40:58,458 ♪ Like I never did before ♪ 1821 01:40:58,542 --> 01:41:03,750 ♪ Help me if you can I'm feeling down ♪ 1822 01:41:05,834 --> 01:41:12,917 ♪ And I do appreciate you Being round ♪ 1823 01:41:13,000 --> 01:41:19,417 ♪ Oh, help me get my feet Back on the ground ♪ 1824 01:41:21,417 --> 01:41:27,291 ♪ Won't you please Please, help me ♪ 1825 01:41:29,250 --> 01:41:35,000 ♪ Won't you please Please, help me ♪ 1826 01:41:35,083 --> 01:41:37,125 ♪ Oh, yeah ♪ 1827 01:41:37,792 --> 01:41:44,834 ♪ Won't you please... ♪ 1828 01:41:46,500 --> 01:41:49,792 (CHEERING AND APPLAUSE) 1829 01:41:51,000 --> 01:41:57,375 ♪ Won't you please help me ♪ 1830 01:41:59,208 --> 01:42:00,917 ♪ Oh ♪ 1831 01:42:01,000 --> 01:42:02,500 ♪ Help ♪ 1832 01:42:03,166 --> 01:42:05,250 TINA: ♪ Oh, oh, oh ♪ 1833 01:42:05,333 --> 01:42:06,375 ♪ Help ♪ 1834 01:42:07,625 --> 01:42:08,834 ♪ Help ♪ 1835 01:42:11,583 --> 01:42:16,375 ♪ Oh ♪ 1836 01:42:17,917 --> 01:42:20,250 ♪ (SONG CONCLUDES) ♪ 1837 01:42:26,667 --> 01:42:28,709 TINA: (ARCHIVAL) The man that I'm looking for, actually, 1838 01:42:28,792 --> 01:42:30,792 has to be a very strong man, 1839 01:42:30,875 --> 01:42:33,333 to wear, actually, the trousers, 1840 01:42:33,417 --> 01:42:36,500 but yet not to dominate me. 1841 01:42:36,583 --> 01:42:38,333 And that's fair. 1842 01:42:44,583 --> 01:42:46,291 ♪ (QUIET MUSIC PLAYING) ♪ 1843 01:42:46,375 --> 01:42:49,417 -FAN 7: Tina, over here! -(INDISTINCT CLAMOR) 1844 01:42:49,500 --> 01:42:51,500 BACH: We met at a Cologne airport. 1845 01:42:51,583 --> 01:42:53,834 No, actually it was, uh, Düsseldorf Airport. 1846 01:42:53,917 --> 01:42:56,333 And, uh, her manager, Roger, 1847 01:42:56,417 --> 01:43:00,083 asked me to, uh-- to pick up Tina. 1848 01:43:01,458 --> 01:43:03,917 TINA: He was younger. He was 30 years old at the time. 1849 01:43:04,917 --> 01:43:07,417 The prettiest face. I mean, you cannot. 1850 01:43:07,500 --> 01:43:12,333 I said, it was like saying, "Where did he come from?" 1851 01:43:12,417 --> 01:43:14,750 He was really so good looking. 1852 01:43:14,834 --> 01:43:17,959 My heart went, "ba-boomp, bop, bop." 1853 01:43:18,041 --> 01:43:21,333 And it means that a soul has met. 1854 01:43:21,417 --> 01:43:23,041 And my hands were shaking. 1855 01:43:23,125 --> 01:43:27,458 So Roger said to me, "Tina, you ride with Erwin." 1856 01:43:27,542 --> 01:43:30,834 And I-- I wanted to go, "Yay." (LAUGHS) 1857 01:43:30,917 --> 01:43:32,667 (INDISTINCT CHATTER) 1858 01:43:32,750 --> 01:43:37,208 BACH: We enjoyed the ride. I enjoyed driving the artist. 1859 01:43:37,291 --> 01:43:38,709 Actually a superstar for us, 1860 01:43:38,792 --> 01:43:41,041 where you're normally a little nervous, you know. 1861 01:43:41,125 --> 01:43:43,625 But, uh, I wasn't nervous either. 1862 01:43:43,709 --> 01:43:45,917 I was just doing the job. 1863 01:43:47,375 --> 01:43:50,375 TINA: (PRESENT) When he found out that I liked him, 1864 01:43:50,458 --> 01:43:51,875 he came to America. 1865 01:43:51,959 --> 01:43:55,208 We were in Nashville, I think it was, 1866 01:43:55,291 --> 01:43:57,000 and I said to him, 1867 01:43:57,083 --> 01:44:00,667 "When you come to LA, I want you to make love to me." 1868 01:44:02,041 --> 01:44:04,917 But I thought that I could say that 'cause I was a free woman, 1869 01:44:05,000 --> 01:44:07,959 I didn't have a boyfriend. I liked him. 1870 01:44:08,041 --> 01:44:10,417 There was nothing wrong with it, it was just sex. 1871 01:44:10,500 --> 01:44:13,166 And he looked at me as if he doesn't-- 1872 01:44:13,250 --> 01:44:18,583 didn't believe what he was hearing. (LAUGHS) 1873 01:44:18,667 --> 01:44:20,166 I laugh now at the moment, 1874 01:44:20,250 --> 01:44:22,542 because I sometimes get that look 1875 01:44:22,625 --> 01:44:24,000 when I do certain things. 1876 01:44:25,417 --> 01:44:30,834 He was just so, so different. 1877 01:44:30,917 --> 01:44:34,792 So laid back, so comfortable, so unpretentious. 1878 01:44:36,458 --> 01:44:39,208 And that was the beginning of our relationship. 1879 01:44:40,625 --> 01:44:42,709 (CROWD MURMURING) 1880 01:44:49,166 --> 01:44:53,041 TINA: I really needed love. I just needed to love a person. 1881 01:44:56,458 --> 01:44:59,000 How many years later, darling, we got married? 1882 01:44:59,792 --> 01:45:01,083 BACH: Twenty-seven. 1883 01:45:02,250 --> 01:45:05,792 (CHEERING AND APPLAUSE) 1884 01:45:05,875 --> 01:45:10,750 BACH: It's love. It's something we both have for each other. 1885 01:45:10,834 --> 01:45:15,208 I always refer to it as an electrical charge. 1886 01:45:15,291 --> 01:45:16,583 I still have it. 1887 01:45:16,667 --> 01:45:19,291 I still have it and even though when I left her 1888 01:45:19,375 --> 01:45:21,667 two hours ago, three hours ago this morning, 1889 01:45:21,750 --> 01:45:23,542 I still have that feeling. 1890 01:45:23,625 --> 01:45:27,834 That feeling is still with me, and, uh, it's in my heart. 1891 01:45:27,917 --> 01:45:29,542 I feel very warm about this. 1892 01:45:29,625 --> 01:45:32,750 ♪ (PIANO MUSIC PLAYING) ♪ 1893 01:45:41,834 --> 01:45:44,750 (BIRDS SINGING) 1894 01:46:35,834 --> 01:46:38,959 ♪ (MUSIC CONCLUDES) ♪ 1895 01:46:41,625 --> 01:46:42,959 JOURNALIST: First, a minute to remember 1896 01:46:43,041 --> 01:46:45,000 one of the fathers of rock and roll. 1897 01:46:45,083 --> 01:46:48,542 Ike Turner died today at age 76. 1898 01:46:48,625 --> 01:46:51,083 Back in 1951, Turner helped record 1899 01:46:51,166 --> 01:46:53,208 what is one of the first rock and roll records, 1900 01:46:53,291 --> 01:46:56,375 "Rocket 88," with his band, The Kings of Rhythm. 1901 01:46:56,458 --> 01:46:59,166 He may be best known as the abusive ex-husband 1902 01:46:59,250 --> 01:47:01,792 of Tina Turner, with whom he performed for many years. 1903 01:47:01,875 --> 01:47:03,041 After their separation, 1904 01:47:03,125 --> 01:47:05,166 Ike Turner continued to make music. 1905 01:47:05,250 --> 01:47:08,750 In 1991, he was inducted into the Rock & Roll Hall of Fame, 1906 01:47:08,834 --> 01:47:09,875 and earlier this year, 1907 01:47:09,959 --> 01:47:11,917 his record Risin' with the Blues 1908 01:47:12,000 --> 01:47:14,709 won a Grammy for Traditional Blues Album. 1909 01:47:16,375 --> 01:47:18,291 TINA: (PRESENT) For a long time, I did hate Ike, 1910 01:47:18,375 --> 01:47:19,709 I have to say that. 1911 01:47:19,792 --> 01:47:22,709 But then after he died, 1912 01:47:22,792 --> 01:47:25,333 I really realized that he was a sick person. 1913 01:47:25,417 --> 01:47:28,667 He was an ill person at the soul. 1914 01:47:29,834 --> 01:47:32,500 He did get me started, 1915 01:47:32,583 --> 01:47:35,417 and, uh, he was good to me in the beginning. 1916 01:47:35,500 --> 01:47:37,458 So I have some good thoughts. 1917 01:47:39,333 --> 01:47:42,125 Uh, maybe it was a good thing that I met him. 1918 01:47:42,875 --> 01:47:44,375 That, I don't know. 1919 01:47:45,375 --> 01:47:48,583 ♪ (QUIET MUSIC PLAYING) ♪ 1920 01:48:01,375 --> 01:48:05,583 TINA: It hurts to have to remember those times. 1921 01:48:09,625 --> 01:48:14,208 But at a certain stage, forgiveness takes over. 1922 01:48:16,041 --> 01:48:18,709 Forgiving means not to hold on. 1923 01:48:19,875 --> 01:48:21,375 You let it go, 1924 01:48:21,458 --> 01:48:23,709 because it only hurts you. 1925 01:48:23,792 --> 01:48:26,458 Not forgiving, you suffer, 1926 01:48:26,542 --> 01:48:28,917 'cause you think about it over and over again. 1927 01:48:29,000 --> 01:48:30,542 And for what? 1928 01:48:33,250 --> 01:48:35,625 I had an abusive life. 1929 01:48:35,709 --> 01:48:37,583 There's no other way to tell the story. 1930 01:48:37,667 --> 01:48:39,792 It's a reality, it's a truth. 1931 01:48:41,250 --> 01:48:42,458 That's what you've got. 1932 01:48:43,291 --> 01:48:44,875 So you have to accept it. 1933 01:48:46,291 --> 01:48:49,417 ♪ (MUSIC CONTINUES) ♪ 1934 01:49:00,667 --> 01:49:03,750 (INDISTINCT CLAMOR) 1935 01:49:17,500 --> 01:49:18,875 Working it. Working it as always. 1936 01:49:18,959 --> 01:49:20,041 Why thank you, honey. 1937 01:49:20,125 --> 01:49:22,291 Can you tell us what Tina means to you? 1938 01:49:26,000 --> 01:49:27,875 The money shot is coming. 1939 01:49:27,959 --> 01:49:31,250 ♪ (DRAMATIC MUSIC CONTINUES) ♪ 1940 01:49:34,458 --> 01:49:36,875 TINA: Some people say the life that I lived 1941 01:49:36,959 --> 01:49:39,375 and the performances that I gave, 1942 01:49:39,458 --> 01:49:44,083 the appreciation is blasting with the people. 1943 01:49:45,041 --> 01:49:48,625 And yeah, I should be proud of that-- I am-- 1944 01:49:51,000 --> 01:49:52,583 but when do you stop being proud? 1945 01:49:52,667 --> 01:49:53,917 (LAUGHING) I mean, when do you-- 1946 01:49:54,000 --> 01:49:57,417 How do you bow out slowly, 1947 01:49:57,500 --> 01:49:58,834 just go away? 1948 01:50:01,333 --> 01:50:02,625 (SIGHS) 1949 01:50:04,792 --> 01:50:07,333 BACH: She said, "I'm going to America 1950 01:50:07,417 --> 01:50:10,875 and I'm going to say goodbye to my American fans, 1951 01:50:10,959 --> 01:50:13,417 and, uh, I'll wrap it up." 1952 01:50:13,500 --> 01:50:17,333 And I think this documentary here and the play, 1953 01:50:18,083 --> 01:50:19,375 this is it. 1954 01:50:20,917 --> 01:50:24,125 It's a closure, a closure. 1955 01:50:25,083 --> 01:50:29,417 CROWD: (CHANTING) Tina, Tina, Tina! 1956 01:50:29,500 --> 01:50:32,542 (CHEERING) 1957 01:50:34,041 --> 01:50:37,542 (CHANTING CONTINUES) 1958 01:50:47,458 --> 01:50:52,959 What I gleaned from her life was love. 1959 01:50:53,041 --> 01:50:55,500 Love of self, love of her family, 1960 01:50:55,583 --> 01:50:58,458 love of her-- of her talent. 1961 01:50:58,542 --> 01:51:00,291 Love of audiences, 1962 01:51:00,375 --> 01:51:02,667 of music, of freedom. 1963 01:51:09,667 --> 01:51:11,291 But there's a part of her, I guess, 1964 01:51:11,375 --> 01:51:13,500 that we've all laid claim to, 1965 01:51:13,583 --> 01:51:16,667 we've all embraced across the world, 1966 01:51:16,750 --> 01:51:18,583 and I hope she knows that. 1967 01:51:18,667 --> 01:51:21,583 You know, how beloved, how loved she is. 1968 01:51:22,750 --> 01:51:25,291 She is absolutely adored. 1969 01:51:26,083 --> 01:51:29,333 (CHEERING AND APPLAUSE) 1970 01:51:29,417 --> 01:51:33,250 ♪ (INSPIRING MUSIC PLAYING) ♪ 1971 01:52:07,917 --> 01:52:10,083 (CHEERING) 1972 01:52:48,250 --> 01:52:51,500 ♪ (MUSIC CONCLUDES) ♪ 1973 01:53:03,917 --> 01:53:06,083 (CROWD CHEERING) 1974 01:53:06,166 --> 01:53:10,375 ♪ ("SIMPLY THE BEST" BY TINA TURNER PLAYING) ♪ 1975 01:53:23,417 --> 01:53:25,709 (SINGING) ♪ I call you when I need you ♪ 1976 01:53:25,792 --> 01:53:28,208 ♪ My heart's on fire ♪ 1977 01:53:32,417 --> 01:53:36,750 ♪ Come to me Come to me wild and wild ♪ 1978 01:53:40,041 --> 01:53:42,250 ♪ You come to me ♪ 1979 01:53:43,583 --> 01:53:47,166 ♪ Give me everything I need ♪ 1980 01:53:49,041 --> 01:53:51,667 ♪ Give me a lifetime Of promises ♪ 1981 01:53:51,750 --> 01:53:54,208 ♪ And a world of dreams ♪ 1982 01:53:57,750 --> 01:54:02,917 ♪ Speak a language of love Like you know what it means ♪ 1983 01:54:06,291 --> 01:54:09,166 ♪ And it can't be wrong ♪ 1984 01:54:09,250 --> 01:54:13,250 ♪ Take my heart And make it strong, baby ♪ 1985 01:54:14,583 --> 01:54:16,625 ♪ You're simply the best ♪ 1986 01:54:19,208 --> 01:54:21,917 ♪ Better than all the rest ♪ 1987 01:54:23,583 --> 01:54:26,375 ♪ Better than anyone ♪ 1988 01:54:27,583 --> 01:54:30,625 ♪ Anyone I've ever met ♪ 1989 01:54:32,041 --> 01:54:34,792 ♪ I'm stuck on your heart ♪ 1990 01:54:36,291 --> 01:54:39,291 ♪ I hang on every word you say ♪ 1991 01:54:40,667 --> 01:54:43,792 ♪ Tear us apart Oh, no ♪ 1992 01:54:45,333 --> 01:54:48,583 ♪ Baby, I would rather be dead ♪ 1993 01:54:50,000 --> 01:54:54,250 ♪ In your heart I see the start Of every night and every day ♪ 1994 01:54:54,333 --> 01:54:55,959 BACKING SINGERS: ♪ Oh, yeah ♪ 1995 01:54:58,625 --> 01:55:03,333 ♪ In your eyes I get lost I get washed away ♪ 1996 01:55:07,250 --> 01:55:10,750 ♪ Just as long As I'm here in your arms ♪ 1997 01:55:10,834 --> 01:55:14,291 ♪ I could be In no better place ♪ 1998 01:55:15,250 --> 01:55:17,834 ♪ You're simply the best Whoo! ♪ 1999 01:55:19,959 --> 01:55:24,166 ♪ Better than all the rest Whoo! ♪ 2000 01:55:24,250 --> 01:55:27,542 ♪ Better than anyone ♪ 2001 01:55:28,333 --> 01:55:32,041 ♪ Anyone I've ever met ♪ 2002 01:55:32,125 --> 01:55:35,333 ♪ Ooh, I'm stuck on your heart ♪ 2003 01:55:37,000 --> 01:55:40,458 ♪ And I hang on Every word you say ♪ 2004 01:55:41,333 --> 01:55:44,875 ♪ Don't tear us apart, no, no ♪ 2005 01:55:46,208 --> 01:55:49,542 ♪ Baby, I would rather be dead ♪ 2006 01:55:51,458 --> 01:55:55,417 ♪ Each time you leave me I start losing control ♪ 2007 01:55:55,500 --> 01:56:00,500 ♪ You're walking away With my heart and my soul ♪ 2008 01:56:00,583 --> 01:56:04,667 ♪ I can feel you Even when I'm alone ♪ 2009 01:56:04,750 --> 01:56:09,000 ♪ Oh, baby, don't let go ♪ 2010 01:56:09,083 --> 01:56:10,834 ♪ Oh ♪ 2011 01:56:19,542 --> 01:56:24,542 ♪ Oh, oh, oh, oh, oh ♪ 2012 01:56:25,291 --> 01:56:26,792 ♪ You're the best ♪ 2013 01:56:26,875 --> 01:56:28,166 Sing it, everybody! 2014 01:56:29,333 --> 01:56:32,333 ♪ Better than all the rest ♪ 2015 01:56:33,959 --> 01:56:36,750 ♪ Better than anyone ♪ 2016 01:56:37,750 --> 01:56:41,792 ♪ Anyone I've ever met ♪ 2017 01:56:41,875 --> 01:56:45,208 ♪ Ooh, I'm stuck on your heart ♪ 2018 01:56:46,667 --> 01:56:49,750 ♪ I hang on every word you say ♪ 2019 01:56:50,875 --> 01:56:54,625 ♪ Don't tear us apart, no, no ♪ 2020 01:56:55,750 --> 01:56:59,041 ♪ Baby, I would rather be dead ♪ 2021 01:56:59,125 --> 01:57:02,083 ♪ Ooh, you're the best ♪ 2022 01:57:20,917 --> 01:57:24,083 ♪ You're simply the best, yeah ♪ 2023 01:57:25,750 --> 01:57:28,750 ♪ Better than all the rest ♪ 2024 01:57:30,458 --> 01:57:33,458 ♪ Better than anyone ♪ 2025 01:57:34,291 --> 01:57:37,500 ♪ Anyone I've ever met ♪ 2026 01:57:38,417 --> 01:57:42,000 ♪ I'm stuck On your heart, baby ♪ 2027 01:57:43,083 --> 01:57:46,291 ♪ I hang on every word you say ♪ 2028 01:57:47,125 --> 01:57:50,667 ♪ Don't tear us apart, no, no ♪ 2029 01:57:52,083 --> 01:57:55,458 ♪ Baby, I would rather be dead ♪ 2030 01:57:55,542 --> 01:57:57,875 ♪ Ooh, you're the best ♪ 2031 01:57:57,959 --> 01:58:00,792 (CHEERING AND APPLAUSE) 2032 01:58:06,083 --> 01:58:08,625 ♪ (SONG CONCLUDES) ♪ 2033 01:58:09,875 --> 01:58:11,166 TINA: Thank you.