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SPEAKER: There are hundreds
of unique,
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inexplicable afflictions.
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Being different is not a defect
of character.
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♪ (DRAMATIC MUSIC PLAYS) ♪
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SPEAKER 2:
You must understand the nature
of the afflicted
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before the empire is
brought to a shuttering halt.
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♪ (MUSIC BUILDS) ♪
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SPEAKER 3:
Might we be civil?
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(CROWD CHEERING)
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(CHANTING)
Tina! Tina! Tina! Tina!
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TINA TURNER:
Well, hey, everybody!
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(CROWD CHEERING)
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TINA: Come on, give it to me.
I said hi, everybody!
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(CROWD CHEERING LOUDER)
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Let me hear you say, "ow!"
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CROWD: Ow!
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♪ ("ASK ME HOW I FEEL"
BY TINA TURNER PLAYING) ♪
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(SINGING)
♪ Oh, waiting in the storm ♪
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♪ Ask me how I feel ♪
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♪ When things are going wrong ♪
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♪ Ask me how I feel ♪
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♪ The night is awful cold ♪
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♪ Ask me how I feel ♪
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♪ You're much too loose
To hold ♪
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♪ Ask me how I feel ♪
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♪ You don't treat me tender ♪
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♪ No matter what I do ♪
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♪ I'm the great pretender ♪
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♪ Whoa, oh, oh, oh, oh ♪
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♪ Waiting in the storm ♪
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♪ Ask me how I feel ♪
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♪ When things are going wrong ♪
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♪ You gotta ask me how I feel ♪
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BACKING SINGERS: (SINGING)
♪ When the night is awful cold ♪
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TINA: ♪ Ask me how I feel ♪
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BACKING SINGERS: ♪ You know
You're much too loose to hold ♪
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TINA: ♪ Come on
And ask me how I feel ♪
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♪ (SONG FADES) ♪
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♪ (MELANCHOLIC MUSIC PLAYING) ♪
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INTERVIEWER 1:
I wondered sometimes
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if anyone has approached you
to do the story of your life,
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which is indeed fantastic.
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TINA: (CHUCKLES) Yes.
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But I don't want to play
the part.
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I've done it.
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INTERVIEWER 1: Who else could
play the part of Tina Turner?
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TINA: We'll find someone.
(LAUGHS)
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I just really don't want to play
the part, you know what I mean?
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No, you don't know what I mean
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'cause you'd have to know me
to know.
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It was just so unlike me,
my life,
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that I don't want anyone
to know about it, I mean...
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INTERVIEWER 1: You mean
it'd be too painful or too--
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TINA: Ah, it wasn't a--
It wasn't--
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It wasn't a good life.
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It was in some areas,
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but the goodness did not balance
the bad.
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So it's like not-- not wanting
to be reminded.
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You don't like to pull out
old clothes, you know?
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-INTERVIEWER 1: Uh-huh.
-TINA: It's like old memories,
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you wanna just leave that
in the past and done with,
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and a lot of things
you don't really wanna say,
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but there comes a time
when you do have to say it.
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♪ (MELANCHOLIC MUSIC
CONTINUES) ♪
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♪ (MUSIC FADES) ♪
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CAMERA ASSISTANT:
This is interview one, take one.
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(CLAPPERBOARD SNAPS)
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PRODUCER: In 1981,
you did this interview
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with People magazine where,
for the first time, really,
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you spoke openly
about your past with Ike.
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Yeah.
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PRODUCER: And I'm curious
if you can remember at all
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any of the thoughts
you had around the decision
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-to be public about that?
-About my past?
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PRODUCER: About your past,
but also, I guess,
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-about the abuse specifically.
-Yeah. Yeah, that was quite...
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nerve-racking.
Actually, I called my psychic
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and I said,
"What's gonna happen?"
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'Cause I was really apprehensive
about giving the story away,
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because it was telling,
it was really telling.
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And she said, "No, Tina,
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it's going to do
just the opposite.
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It's gonna break everything
wide open."
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CARL ARRINGTON:
In the early eighties,
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being in People magazine was
the equivalent of going viral.
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We had 30 million readers,
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and if somebody wanted to reach
a lot of people,
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there was really no bigger place
to go than People magazine.
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I was the music editor of
People magazine for many years,
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uh, and this is
the December 7th, 1981 issue,
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when Tina decided
to tell her story.
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And it was the first time
she'd told the story
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in public to a journalist.
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So, um, this is the story.
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I reported it and wrote it
for People magazine.
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This is, uh,
the picture of Tina.
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(READS HEADLINE OUT LOUD)
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"Tina Turner remains
rock's original Jagger,
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a primitive force who,
glittering in sequins
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and a gold chain miniskirt,
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typically assaults the stage
in mid-scream
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with both legs pumping,
hips grinding,
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long mane whirling,
and her mouth wrapped around
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some of the sexiest sounds
ever set to music.
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More than five years have passed
since Tina's bitter break
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with Ike Turner,
her long-time husband, sideman,
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and music collaborator
on such classics
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as 'Proud Mary'
and 'Come Together.'
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Only now is Tina able to discuss
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what she claims
were the harrowing events
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leading up to their split."
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TINA: (ARCHIVAL)
I lived 16 years with a man
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that I knew there was no way
I could ever be happy with,
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but I felt that
I had to stay there.
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ARRINGTON: Mm-hmm.
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TINA: You have to believe me,
now, when I tell you something.
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My ex-husband
was a physically violent man.
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I went through basic torture.
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ARRINGTON: Torture? You would
say-- you would call it torture?
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TINA: I-- To me it was.
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A lot of people don't know,
and your magazine
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will probably be the first
to make it publicly known.
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I was living a life of death.
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I didn't exist.
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-But I survived it.
-ARRINGTON: Hm.
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TINA: And when I walked out,
I walked.
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And I didn't look back.
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ARRINGTON: (PRESENT)
People choose
to tell their story
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for lots of different reasons.
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I think she told me so much
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because she wanted
to just tell it
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and then forget it.
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It didn't quite
work out that way
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because now that story
is a great mark of her life.
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SAM RIDDLE:
Ladies and gentlemen,
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-you've seen them live
from coast to coast.
-(RHYTHMIC CLAPPING)
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Now you're about to see them
all together
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for the very first time
on national television.
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Hollywood A Go-Go presents
the fantastic
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-Ike and Tina Turner Revue!
-(CHEERING AND APPLAUSE)
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♪ ("GIMME SOME LOVING/
SWEET SOUL MUSIC"
MEDLEY PLAYS) ♪
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♪ (MUSIC CONTINUES) ♪
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LE'JEUNE FLETCHER: When I was
a teenager back in the sixties,
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I knew of their record
that they had out,
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but I had never seen them.
And then they came on TV,
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and I saw her dancing.
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And that's all I could look at.
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I was just so amazed
at this woman!
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♪ (MUSIC CONTINUES) ♪
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OPRAH WINFREY: I remember
standing there watching her
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and saying,
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"Whatever that is,
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I want some of that."
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I got the spirit.
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It's no different
than being in a church
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where you are moved
and stirred to the point
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where you could feel it
inside yourself.
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♪ ("SWEET SOUL MUSIC" BY IKE
AND TINA TURNER PLAYING) ♪
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(SINGING)
♪ Do you like good music? ♪
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♪ Sweet soul music ♪
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♪ Long as it's swingin' ♪
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♪ Yeah, yeah ♪
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♪ Get out here on the floor
Y'all ♪
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♪ Dancing to a go-go ♪
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♪ And dancing to the music ♪
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♪ Yeah, yeah ♪
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♪ Spotlight is on me, y'all ♪
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♪ And I'm having
A ball, y'all... ♪
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ANGELA BASSETT: Back then,
you had the whole Motown Revue,
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you had Diana Ross,
Mary Wells,
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the Temptations
in these Italian suits,
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and were putting forth
an image of sophistication.
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And they were all...
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(HUMS QUIETLY)
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...that kind of stuff,
and Tina was more, "yeah!"
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That kind of stuff,
it's wild, it's your sensuality,
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your sexuality,
and it's in your face.
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TINA: (SINGING)
♪ Dancing to a go-go ♪
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♪ And dancing to the music ♪
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INTERVIEWER 2:
Did you ever study dancing?
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-No.
-INTERVIEWER 2: No?
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And what about-- what about
music, uh, singing?
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No, no music at all.
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Everything is just natural
for me.
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I'm a performer.
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And I sing and Ike does the, uh,
the managing and producing.
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It was Ike's band,
but he knew
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that in order to--
to be a number one,
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he needed Tina, 'cause Tina
was the shining star.
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♪ (SONG CONCLUDES) ♪
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(CHEERING AND APPLAUSE)
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(INDISTINCT CHATTER)
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TINA: (ARCHIVAL)
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ARRINGTON:
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TINA:
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♪ ("BOXTOP" BY IKE TURNER
PLAYING) ♪
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♪ Box top ♪
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♪ Let's rock ♪
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♪ Don't let it stop ♪
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♪ You bet not ♪
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♪ Oh, box top... ♪
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TINA: (ARCHIVAL)
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♪ (SONG CONTINUES) ♪
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♪ (SONG CONTINUES) ♪
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(SCOFFS)
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TINA: (SINGING)
♪ He gave ♪
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♪ Me a mother ♪
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♪ And he gave me ♪
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♪ A father too ♪
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♪ He gave ♪
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♪ Yes, gave me everything ♪
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♪ And then he gave ♪
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♪ He gave me you ♪
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♪ He gave... ♪
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TINA: (ARCHIVAL)
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-ARRINGTON:
-TINA:
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TINA: (SINGING)
♪ He gave ♪
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♪ Yes, gave me everything... ♪
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TINA: (ARCHIVAL)
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(SINGING) ♪ Could I want... ♪
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JIMMY THOMAS:
He was like her hero,
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like a big brother.
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And he seen her
like a little sister.
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That relationship
was very beautiful,
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it really was.
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TINA:
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TINA: (SINGING) ♪ He gave
Me strength to love with... ♪
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TINA: (PRESENT)
I wasn't thinking of...
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"I'll go to St. Louis,
and I'll start singing,
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and I'll be a star."
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I was young, naive,
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just a country girl,
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and everything
just opened up to me.
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TINA: (SINGING)
♪ And most of all ♪
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♪ He gave me you ♪
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INTERVIEWER 3: Tina,
you started your musical career
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00:14:00,750 --> 00:14:02,583
in a church choir
in your hometown.
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00:14:02,667 --> 00:14:05,834
Do you consider your musical
roots to be Black gospel?
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00:14:05,917 --> 00:14:10,041
Oh, yes, certainly.
Black gospel, blues,
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00:14:10,125 --> 00:14:13,041
BB King's music
was our radio during that time.
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INTERVIEWER 3: Mm-hmm.
What kind of songs
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were you singing as a member
of the church choir?
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00:14:17,125 --> 00:14:22,333
(LAUGHS) Well, we called them--
Well, it was a Baptist church,
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00:14:22,417 --> 00:14:25,375
and they were just
spiritual songs, um...
245
00:14:25,458 --> 00:14:30,166
songs about, you know,
love, and, um, giving,
246
00:14:30,250 --> 00:14:32,208
and, uh, and, uh...
247
00:14:32,291 --> 00:14:35,875
doing all of the right things
that make life good.
248
00:14:37,208 --> 00:14:38,542
Those were good times, you know,
249
00:14:38,625 --> 00:14:41,834
to remember all of the church
singing and the choir and all.
250
00:14:44,458 --> 00:14:46,583
♪ (QUIET PIANO MUSIC PLAYING) ♪
251
00:14:46,667 --> 00:14:49,417
TINA: (PRESENT)
When you're in the South,
there's nothing... happened
252
00:14:49,500 --> 00:14:52,208
except the church, the piano,
the preacher.
253
00:14:52,291 --> 00:14:55,667
During that time, I didn't know
about anywhere else,
254
00:14:55,750 --> 00:15:00,041
so seeing Lucille Ball
and Loretta Young,
255
00:15:00,125 --> 00:15:02,709
all the beautiful ladies
of Hollywood,
256
00:15:02,792 --> 00:15:08,291
they were a role model
for a performer.
257
00:15:08,375 --> 00:15:11,875
But I didn't think that
I would actually achieve that,
258
00:15:11,959 --> 00:15:13,834
because, first, I wasn't pretty,
259
00:15:13,917 --> 00:15:16,792
and I didn't have the clothes,
I didn't have the means.
260
00:15:19,542 --> 00:15:22,458
TINA: (ARCHIVAL)
I remember the first
Vogue magazine that I saw,
261
00:15:22,542 --> 00:15:26,750
and I remember my first
French poster of Champs-Élysées,
262
00:15:26,834 --> 00:15:31,417
uh, the Eiffel Tower, and the--
the very-- very French woman.
263
00:15:31,500 --> 00:15:33,417
I was like, "Ah,
that's what I want!
264
00:15:33,500 --> 00:15:36,166
The world.
That's where I wanna go."
265
00:15:41,208 --> 00:15:43,375
KURT LODER: I got the impression
from her, she always felt
266
00:15:43,458 --> 00:15:47,041
a little bit of out of time
or a little bit out of place.
267
00:15:47,125 --> 00:15:50,083
I didn't think she ever felt
like people understood her
268
00:15:50,166 --> 00:15:52,542
or really liked her
for who she was.
269
00:15:52,625 --> 00:15:54,458
And the talent she had,
270
00:15:54,542 --> 00:15:55,875
she finally learned
that she had,
271
00:15:55,959 --> 00:15:58,875
can win you a lot of people
who will recognize who you are
272
00:15:58,959 --> 00:16:01,875
and will become
like your-- your real family,
273
00:16:02,375 --> 00:16:03,542
uh, or try to.
274
00:16:04,667 --> 00:16:06,917
INTERVIEWER 4: Ike,
first of all, if we can--
275
00:16:07,000 --> 00:16:09,250
if we can kinda go back
a long way
276
00:16:09,333 --> 00:16:10,709
to when you were a young man,
277
00:16:10,792 --> 00:16:13,000
a lot of people credit you
with doing
278
00:16:13,083 --> 00:16:15,792
the first ever rock and roll
record, "Rocket 88."
279
00:16:15,875 --> 00:16:17,792
-Yeah, that was in 1951.
-INTERVIEWER 4: Yeah.
280
00:16:17,875 --> 00:16:20,041
How did-- how did
that thing happen?
281
00:16:20,125 --> 00:16:22,542
Well... (CLEARS THROAT)
I lived in Clarksdale,
Mississippi,
282
00:16:22,625 --> 00:16:25,458
which is actually 61 miles
from Memphis,
283
00:16:25,542 --> 00:16:29,166
and BB King, uh, my mother,
she practically raised him,
you know?
284
00:16:29,250 --> 00:16:32,291
And, um, one night,
we was coming from
Chambers, Mississippi, playing,
285
00:16:32,375 --> 00:16:33,625
and, uh, BB,
I asked him, I said,
286
00:16:33,709 --> 00:16:35,792
"Man, can we play a song?"
And he said-- he said, "Yeah."
287
00:16:35,875 --> 00:16:38,083
So he let my band
play one number, so anyway,
288
00:16:38,166 --> 00:16:40,125
he said, "Man, you guys
should be recording."
289
00:16:40,208 --> 00:16:42,458
And, man, we didn't have
any material, so on the way up,
290
00:16:42,542 --> 00:16:45,125
we decided to write this song,
and that's when I wrote
the song "Rocket 88."
291
00:16:45,208 --> 00:16:46,917
♪ ("ROCKET 88"
BY JACKIE BRENSTON PLAYING) ♪
292
00:16:47,000 --> 00:16:48,333
♪ You women
Have heard of jalopies ♪
293
00:16:48,417 --> 00:16:49,792
♪ You've heard
The noise they make ♪
294
00:16:49,875 --> 00:16:52,959
♪ But let me introduce
My new Rocket 88 ♪
295
00:16:53,041 --> 00:16:56,166
♪ Yes, it's straight
Just won't wait ♪
296
00:16:56,250 --> 00:16:59,000
♪ Everybody likes
My Rocket 88 ♪
297
00:16:59,083 --> 00:17:01,041
♪ Baby, we'll ride in style ♪
298
00:17:01,125 --> 00:17:03,709
♪ Moving all along ♪
299
00:17:04,917 --> 00:17:07,333
LODER: Ike Turner
is a very important part
300
00:17:07,417 --> 00:17:09,458
of R&B history.
Everybody relied on him
301
00:17:09,542 --> 00:17:12,834
'cause he really knew music,
and he scored a real hit record
302
00:17:12,917 --> 00:17:15,875
with a song in 1951
called "Rocket 88."
303
00:17:15,959 --> 00:17:18,208
People say it's
the first rock and roll record.
304
00:17:18,291 --> 00:17:20,333
And when it comes out,
Chess has credited it
305
00:17:20,417 --> 00:17:22,709
to Jackie Brenston
and his Delta Cats.
306
00:17:22,792 --> 00:17:24,709
Ike Turner did that song,
you know.
307
00:17:24,792 --> 00:17:26,208
He made everything
about it happen,
308
00:17:26,291 --> 00:17:28,542
and it's credited
to one of his saxophone players.
309
00:17:28,625 --> 00:17:30,709
Imagine how he feels about this?
310
00:17:30,792 --> 00:17:32,917
And I think that's the story
of his career.
311
00:17:33,000 --> 00:17:34,625
I think he became paranoid
about that,
312
00:17:34,709 --> 00:17:37,208
he said, "People are always
trying to rip me off."
313
00:17:37,291 --> 00:17:39,792
RHONDA GRAAM:
He was always obsessed on it.
314
00:17:39,875 --> 00:17:43,083
"Everybody leaves me.
I make 'em, you know, popular
315
00:17:43,166 --> 00:17:45,709
and get a hit record
and everything for them,
316
00:17:45,792 --> 00:17:46,834
and they all leave me."
317
00:17:50,041 --> 00:17:51,625
TINA: (PRESENT)
Ike had a problem
318
00:17:51,709 --> 00:17:53,542
of writing songs for people
319
00:17:53,625 --> 00:17:55,125
and they would leave,
320
00:17:55,208 --> 00:17:57,625
and I promised him
that I wouldn't leave him.
321
00:17:59,542 --> 00:18:01,750
In those days,
a promise is a promise.
322
00:18:05,458 --> 00:18:07,291
ARRINGTON: (ARCHIVAL)
323
00:18:07,834 --> 00:18:09,583
TINA: (ARCHIVAL)
324
00:18:09,667 --> 00:18:11,083
-ARRINGTON:
-TINA:
325
00:18:11,166 --> 00:18:12,208
ARRINGTON: Bullock.
326
00:18:13,291 --> 00:18:15,000
ARRINGTON:
327
00:18:15,083 --> 00:18:16,667
(APPLAUSE)
328
00:18:16,750 --> 00:18:19,458
♪ ("A FOOL IN LOVE" BY IKE
AND TINA TURNER PLAYING) ♪
329
00:18:19,542 --> 00:18:23,125
TINA: (SINGING) ♪ Ooh ♪
330
00:18:24,458 --> 00:18:28,000
♪ There's something on my mind ♪
331
00:18:28,709 --> 00:18:32,625
♪ Won't somebody please ♪
332
00:18:32,709 --> 00:18:37,417
♪ Please tell me what's wrong ♪
333
00:18:37,500 --> 00:18:41,250
-♪ You're just a fool
You know you're in love ♪
-♪ What you say? ♪
334
00:18:41,333 --> 00:18:44,709
-♪ You've got to face it
To let it explode ♪
-♪ Hey, hey, hey, hey, hey ♪
335
00:18:44,792 --> 00:18:48,375
-♪ You take the good
Along with the bad ♪
-♪ Yeah, hey, yeah ♪
336
00:18:48,458 --> 00:18:51,000
♪ Sometimes you're happy
And sometimes you're sad ♪
337
00:18:51,083 --> 00:18:52,792
♪ One more time ♪
338
00:18:52,875 --> 00:18:55,125
-♪ You know you love him
You can't understand ♪
-♪ Tell me about it now ♪
339
00:18:55,208 --> 00:18:58,875
♪ Why he treats you like he do
When he's such a good man... ♪
340
00:18:58,959 --> 00:19:00,166
TINA: (PRESENT)
I finished school,
341
00:19:00,250 --> 00:19:03,291
and I went to a recording studio
and I did a demo,
342
00:19:03,375 --> 00:19:05,250
and that's when
the hit record came.
343
00:19:06,291 --> 00:19:09,625
♪ Oh, now I must be a fool ♪
344
00:19:09,709 --> 00:19:11,959
♪ 'Cause I'll do anything
He wants me to do ♪
345
00:19:12,041 --> 00:19:14,208
-♪ Now tell me how it goes ♪
-♪ You're just a fool ♪
346
00:19:14,291 --> 00:19:16,667
-♪ You know you're in love ♪
-♪ Yeah, one more time ♪
347
00:19:16,750 --> 00:19:19,291
♪ You've got to face it
To let it explode ♪
348
00:19:19,375 --> 00:19:20,834
♪ Yeah, yeah, yeah, yeah, yeah ♪
349
00:19:20,917 --> 00:19:22,625
TINA: (PRESENT) Ike came in
and he said, you know,
350
00:19:22,709 --> 00:19:24,417
"The people in New York
are very excited.
351
00:19:24,500 --> 00:19:26,792
We got a hit record."
He was very excited, you know.
352
00:19:26,875 --> 00:19:29,208
And then there was a contract
started coming in.
353
00:19:29,291 --> 00:19:31,291
♪ (SOMBER MUSIC PLAYING) ♪
354
00:19:32,417 --> 00:19:35,333
TINA: I was very ignorant
to show business.
355
00:19:35,417 --> 00:19:37,792
I didn't have any idea
what it was about.
356
00:19:40,792 --> 00:19:42,583
THOMAS: She really was young.
357
00:19:44,083 --> 00:19:48,792
She never had no ambition
to be some kind of superstar,
358
00:19:48,875 --> 00:19:52,208
but she-- when she sang,
she just-- she just had it.
359
00:19:53,875 --> 00:19:56,166
And Ike exploited it.
360
00:19:56,250 --> 00:19:59,166
He had to make sure
he was gonna get his this time,
361
00:19:59,250 --> 00:20:01,750
so he makes sure
that his name is on it.
362
00:20:01,834 --> 00:20:03,792
GRAAM: And that's when he put
the whole show together,
363
00:20:03,875 --> 00:20:05,125
the Ike and Tina Turner Revue,
364
00:20:05,208 --> 00:20:07,375
and gave her
the name Tina Turner.
365
00:20:09,458 --> 00:20:13,792
TINA: (ARCHIVAL)
366
00:20:18,792 --> 00:20:22,208
GRAAM: Sheena, Queen of
the Jungle, it was a TV series.
367
00:20:22,291 --> 00:20:24,875
"Tina" and "Sheena," I guess
it just sounded close to him,
368
00:20:24,959 --> 00:20:28,000
and it sounded good,
"Ike and Tina Revue,"
369
00:20:28,083 --> 00:20:30,000
as a whole entity.
370
00:20:30,083 --> 00:20:32,041
So he changed it,
didn't even ask her,
371
00:20:32,125 --> 00:20:33,875
she didn't know anything
about it.
372
00:20:33,959 --> 00:20:37,250
♪ (SOMBER MUSIC CONTINUES) ♪
373
00:20:41,875 --> 00:20:44,250
THOMAS: Tina was the gold mine,
he knew that.
374
00:20:46,333 --> 00:20:48,750
He created
this Frankenstein thing,
375
00:20:48,834 --> 00:20:51,458
and he had to control her.
376
00:20:51,542 --> 00:20:55,166
So he had to change that thing
from, "being my little sister,
377
00:20:55,250 --> 00:20:57,542
no, no,
you've gotta be my wife now."
378
00:20:57,625 --> 00:20:58,750
Boom.
379
00:20:58,834 --> 00:21:01,500
♪ (SOMBER MUSIC CONTINUES) ♪
380
00:21:22,333 --> 00:21:24,458
TINA: (ARCHIVAL)
381
00:22:36,709 --> 00:22:38,792
(INAUDIBLE)
382
00:22:49,333 --> 00:22:51,834
GRAAM: You'd never know
from one minute to the next,
383
00:22:51,917 --> 00:22:53,208
Ike could be having a good time,
384
00:22:53,291 --> 00:22:54,834
and everybody was having
a good time,
385
00:22:54,917 --> 00:22:56,750
and it could just flip
in a second.
386
00:22:56,834 --> 00:22:59,166
And I think, with-- with women,
I think, you know,
387
00:22:59,250 --> 00:23:01,709
he figured
he had the upper hand.
388
00:23:01,792 --> 00:23:04,959
And especially like with Tina,
you know, that was like...
389
00:23:06,291 --> 00:23:09,208
I think him instilling in her,
390
00:23:09,291 --> 00:23:10,875
"You'd better be good,
or, you know,
391
00:23:10,959 --> 00:23:13,041
I'm gonna beat the shit
out of you."
392
00:23:13,125 --> 00:23:16,083
And did on many occasions,
you know, I mean,
393
00:23:16,166 --> 00:23:19,792
and for no reason,
a lot of times, it was just...
394
00:23:21,125 --> 00:23:22,291
I really don't know.
395
00:23:22,375 --> 00:23:24,583
I don't think he knows
a lot of the time.
396
00:23:28,875 --> 00:23:31,208
TINA: (ARCHIVAL)
I felt obligated to stay there,
397
00:23:31,291 --> 00:23:32,709
and I was afraid.
398
00:23:32,792 --> 00:23:34,375
And I stayed.
That was just how it was.
399
00:23:34,458 --> 00:23:37,041
I felt very loyal to Ike,
and I didn't wanna hurt him.
400
00:23:37,125 --> 00:23:39,208
I mean, sometimes, like,
after he'd beat me up,
401
00:23:39,291 --> 00:23:40,667
I'd end up feeling sorry
for him,
402
00:23:40,750 --> 00:23:41,750
and why am I feeling sorry?
403
00:23:41,834 --> 00:23:43,250
I'm sitting here
all bruised and torn,
404
00:23:43,333 --> 00:23:45,208
and then all of a sudden
I'm feeling sorry for him,
405
00:23:45,291 --> 00:23:47,709
you know?
Little things like that.
406
00:23:47,792 --> 00:23:49,667
I was 23 years old or something,
you know,
407
00:23:49,750 --> 00:23:52,417
I mean, early twenties.
I was just all--
408
00:23:52,500 --> 00:23:54,834
How do you call it when someone
brainwashes you like this?
409
00:23:54,917 --> 00:23:56,917
-ARRINGTON: Brainwashed.
-TINA: Maybe I was brainwashed.
410
00:23:57,000 --> 00:23:59,250
Yeah, I was--
I was afraid of him...
411
00:23:59,333 --> 00:24:02,417
and, um, I cared
what happened to him,
412
00:24:02,500 --> 00:24:05,166
and I knew that if I left,
there was no one to sing.
413
00:24:05,250 --> 00:24:08,458
So I was caught up in guilt
and fear.
414
00:24:08,542 --> 00:24:10,917
Yeah, those are the two worst
qualities, I think,
415
00:24:11,000 --> 00:24:13,375
for a young girl
to be caught up into.
416
00:24:13,458 --> 00:24:16,125
♪ (OMINOUS MUSIC PLAYING) ♪
417
00:24:18,667 --> 00:24:19,917
(CHEERING AND APPLAUSE)
418
00:24:20,041 --> 00:24:23,417
ANNOUNCER 1: And now let's go
with Ike and Tina Turner!
419
00:24:23,500 --> 00:24:27,709
♪ ("SHAKE" BY IKE
AND TINA TURNER PLAYING) ♪
420
00:24:34,166 --> 00:24:36,458
♪ Listen while I talk to you ♪
421
00:24:36,542 --> 00:24:38,959
♪ I'll tell you
What I'm gonna do ♪
422
00:24:39,041 --> 00:24:41,500
♪ There's a new dance
That's going around ♪
423
00:24:41,583 --> 00:24:44,291
♪ I wanna tell you
What they're putting down ♪
424
00:24:44,375 --> 00:24:46,500
♪ Just move your body
All around ♪
425
00:24:46,583 --> 00:24:47,583
♪ Shake ♪
426
00:24:47,667 --> 00:24:49,291
♪ Oh, baby... ♪
427
00:24:49,375 --> 00:24:52,875
THOMAS: In those early days,
we'd play three shows a night.
428
00:24:52,959 --> 00:24:55,625
Two shows this place,
two shows that place
429
00:24:55,709 --> 00:24:58,125
and two shows
at the after-hours place.
430
00:24:58,208 --> 00:25:00,166
It was hard work.
431
00:25:00,250 --> 00:25:04,375
FLETCHER: I can remember working
as many as four shows a night,
432
00:25:04,458 --> 00:25:07,417
and every night
and every show...
433
00:25:07,500 --> 00:25:09,166
-♪ (MUSIC ENDS ABRUPTLY) ♪
-...was packed.
434
00:25:09,250 --> 00:25:10,834
Was packed.
435
00:25:10,917 --> 00:25:13,000
TINA: (ARCHIVAL) Right now,
I'm gonna tell you
a little something about my man.
436
00:25:13,083 --> 00:25:15,250
♪ ("MY MAN, HE'S A LOVIN' MAN"
BY IKE AND TINA TURNER
PLAYING) ♪
437
00:25:15,333 --> 00:25:17,000
(CROWD CHEERING)
438
00:25:17,083 --> 00:25:20,166
-TINA: ♪ My man ♪
-BACKING SINGERS: ♪ Your man
Your man, your man... ♪
439
00:25:20,250 --> 00:25:22,583
FLETCHER:
He rehearsed constantly.
440
00:25:22,667 --> 00:25:25,083
Even sometimes we'd be driving
to the next show,
441
00:25:25,166 --> 00:25:27,000
and he'd be playing the guitar
in the back
442
00:25:27,083 --> 00:25:30,083
and having Tina sing.
I mean, it was 24/7.
443
00:25:30,166 --> 00:25:31,500
LODER: The show
has to be perfect.
444
00:25:31,583 --> 00:25:33,333
Every single part of it
has to be perfect.
445
00:25:33,417 --> 00:25:35,166
He was one of those guys
who would, you know,
446
00:25:35,250 --> 00:25:37,208
turn around on stage
and point at somebody,
447
00:25:37,291 --> 00:25:39,166
they know they're getting
a ten-dollar fine
448
00:25:39,250 --> 00:25:40,542
'cause they just blew a note.
449
00:25:40,625 --> 00:25:43,333
TINA: ♪ He lets 'em know
That he's a one-woman man ♪
450
00:25:43,417 --> 00:25:44,417
♪ My man ♪
451
00:25:44,500 --> 00:25:46,375
BASSETT: She didn't have
the glam team,
452
00:25:46,458 --> 00:25:47,917
someone doing the hair
and the makeup
453
00:25:48,000 --> 00:25:50,000
and the stylist
getting the wardrobe.
454
00:25:50,083 --> 00:25:52,375
They did it all themselves.
455
00:25:52,458 --> 00:25:55,041
-TINA: ♪ My man ♪
-BACKING SINGERS:
♪ Your man, your man, your man ♪
456
00:25:55,125 --> 00:25:57,500
TINA: ♪ You know
He's really all right ♪
457
00:25:57,583 --> 00:25:59,333
BACKING SINGERS:
♪ Your man, your man, your man ♪
458
00:25:59,417 --> 00:26:02,208
TINA: ♪ Yeah, yeah, yeah
He treats me... ♪
459
00:26:02,291 --> 00:26:05,792
TINA: (PRESENT) The only freedom
I had was when the Ikettes and I
460
00:26:05,875 --> 00:26:09,250
got the dancing ready
and I got the dresses ready,
461
00:26:09,333 --> 00:26:10,667
and we'd get everything,
462
00:26:10,750 --> 00:26:12,959
except we didn't even know
what song was coming up.
463
00:26:13,041 --> 00:26:16,583
He would, "duh-dum,"
do it with the guitar, you know?
464
00:26:16,667 --> 00:26:19,333
TINA: ♪ Here in our home
My man ♪
465
00:26:19,417 --> 00:26:21,041
TINA: (PRESENT)
It was awful in a way,
466
00:26:21,125 --> 00:26:22,417
but it was a lesson.
467
00:26:22,500 --> 00:26:27,166
Now that I look back,
I see it as a training.
468
00:26:27,250 --> 00:26:31,917
You-- you adjust to
what is given,
469
00:26:32,000 --> 00:26:34,333
and that is what was given
at the time.
470
00:26:34,417 --> 00:26:38,166
♪ (SOMBER MUSIC PLAYING) ♪
471
00:26:40,291 --> 00:26:42,417
LODER: He controlled the music,
and she had to--
472
00:26:42,500 --> 00:26:44,333
It was always his music,
and it was--
473
00:26:44,417 --> 00:26:46,917
which is very samey, if you
listen to it all the time.
474
00:26:47,000 --> 00:26:49,417
A lot of it's just brilliant.
I love those records.
475
00:26:49,500 --> 00:26:50,875
But it's-- it's of a type.
476
00:26:50,959 --> 00:26:53,000
It's one thing.
It's Ike Turner's stuff.
477
00:26:53,083 --> 00:26:55,583
And she-- I think she had
broader tastes than that.
478
00:26:55,667 --> 00:26:58,709
She must have felt
there was more you could do
with music than this.
479
00:26:58,792 --> 00:27:00,583
I think she probably had
a bigger dream than--
480
00:27:00,667 --> 00:27:02,625
without knowing it, than he did.
481
00:27:05,000 --> 00:27:07,750
THOMAS: People started to see
that there was more to Tina
482
00:27:07,834 --> 00:27:10,333
than what Ike had to offer her.
483
00:27:10,417 --> 00:27:13,750
Especially after the River Deep
Mountain High album,
484
00:27:13,834 --> 00:27:15,834
you know, with Phil Spector.
485
00:27:15,917 --> 00:27:17,959
LODER: Phil Spector was
the greatest pop record producer
486
00:27:18,041 --> 00:27:19,208
of that period.
487
00:27:19,291 --> 00:27:21,291
He played the studio
like an instrument, you know,
488
00:27:21,375 --> 00:27:22,875
and he found all these singers,
489
00:27:22,959 --> 00:27:24,667
and he made
these wonderful records.
490
00:27:24,750 --> 00:27:27,667
And when Phil Spector wanted to
make River Deep Mountain High,
491
00:27:27,750 --> 00:27:29,834
Ike's presence
was not necessary.
492
00:27:29,917 --> 00:27:32,250
Just bring Tina in,
'cause she's the star.
493
00:27:32,333 --> 00:27:33,750
(INDISTINCT CHATTER)
494
00:27:33,834 --> 00:27:37,291
GRAAM: Spector didn't want Ike
nowhere near the studio,
495
00:27:37,375 --> 00:27:39,208
so he paid Ike
X amount of dollars
496
00:27:39,291 --> 00:27:42,667
to get him taken care of,
so to speak,
497
00:27:42,750 --> 00:27:45,417
so that he wasn't--
wouldn't interfere with Tina.
498
00:27:45,500 --> 00:27:48,041
And that was the first time
they gave Tina...
499
00:27:49,208 --> 00:27:52,166
her chance to sing differently.
500
00:27:52,250 --> 00:27:54,583
-♪ (MUSIC PLAYING) ♪
-(PHIL SPECTOR HUMMING)
501
00:27:54,667 --> 00:27:59,709
TINA: (PRESENT) I remember
starting to sing with Phil,
502
00:27:59,792 --> 00:28:03,166
that style of singing
which I had been singing.
503
00:28:03,250 --> 00:28:05,000
-TINA: ♪ When I was-- ♪
-♪ (MUSIC STOPS) ♪
504
00:28:05,083 --> 00:28:06,250
SPECTOR: One more time.
505
00:28:06,333 --> 00:28:08,792
And he said, "No, no, no, no.
Just sing the melody."
506
00:28:09,834 --> 00:28:11,667
And I liked that.
507
00:28:11,750 --> 00:28:15,041
That was a freedom
that I didn't have.
508
00:28:15,125 --> 00:28:18,792
You know, like a bird
that gets out of a cage.
509
00:28:18,875 --> 00:28:21,959
I was excited about singing
a different type of song.
510
00:28:22,041 --> 00:28:25,250
I was excited about getting
out of the studio on my own.
511
00:28:25,333 --> 00:28:28,583
It was a freedom
to do something different.
512
00:28:28,667 --> 00:28:32,125
♪ ("RIVER DEEP MOUNTAIN HIGH"
BY TINA TURNER PLAYING) ♪
513
00:28:33,875 --> 00:28:36,875
TINA: (SINGING)
♪ When I was a little girl ♪
514
00:28:36,959 --> 00:28:38,959
♪ I had a rag doll ♪
515
00:28:39,792 --> 00:28:42,792
♪ Only doll I've ever owned ♪
516
00:28:45,417 --> 00:28:50,917
♪ Now I love you just the way
I loved that rag doll ♪
517
00:28:51,000 --> 00:28:54,125
♪ But only now
My love has grown ♪
518
00:28:55,458 --> 00:28:57,667
♪ And it gets stronger ♪
519
00:28:58,375 --> 00:29:01,041
♪ In every way ♪
520
00:29:01,125 --> 00:29:03,875
♪ And it gets deeper ♪
521
00:29:03,959 --> 00:29:06,750
♪ Let me say ♪
522
00:29:06,834 --> 00:29:09,333
♪ And it gets higher ♪
523
00:29:09,917 --> 00:29:12,917
♪ Day by day ♪
524
00:29:13,000 --> 00:29:18,417
♪ And do I love you
My, oh, my ♪
525
00:29:18,500 --> 00:29:22,667
♪ Yeah, river deep
Mountain high ♪
526
00:29:22,750 --> 00:29:24,709
♪ Yeah, yeah, yeah ♪
527
00:29:24,792 --> 00:29:29,333
♪ And if I lost you
Would I cry ♪
528
00:29:30,083 --> 00:29:32,959
♪ Oh, how I love you, baby ♪
529
00:29:33,041 --> 00:29:37,417
♪ Baby, baby, baby ♪
530
00:29:37,500 --> 00:29:39,208
TINA: (PRESENT) It was so big,
531
00:29:39,291 --> 00:29:41,709
and my voice sounded
so different
532
00:29:41,792 --> 00:29:43,959
standing on top
of all that music.
533
00:29:44,041 --> 00:29:46,000
TINA: (SINGING)
♪ I love you, baby ♪
534
00:29:46,083 --> 00:29:49,542
♪ Like the flower
Loves the spring... ♪
535
00:29:49,625 --> 00:29:51,041
THOMAS: People started to see
536
00:29:51,125 --> 00:29:53,166
Tina was capable
of so much more.
537
00:29:53,250 --> 00:29:55,125
She-- she had wings, man.
538
00:29:55,208 --> 00:29:57,333
TINA:
♪ And I love you, baby ♪
539
00:29:57,417 --> 00:30:00,625
♪ Like a schoolboy
Loves his pet ♪
540
00:30:00,709 --> 00:30:03,542
LODER: This is such
an overpowering orchestration,
541
00:30:03,625 --> 00:30:04,625
it's so complex,
542
00:30:04,709 --> 00:30:07,250
it's this record
that just blows out walls.
543
00:30:08,166 --> 00:30:10,208
TINA: (SINGING) ♪ Baby ♪
544
00:30:10,959 --> 00:30:12,667
♪ Baby... ♪
545
00:30:12,750 --> 00:30:16,417
TINA: (PRESENT)
546
00:30:16,500 --> 00:30:18,291
TINA: (SINGING) ♪ Oh, baby ♪
547
00:30:18,375 --> 00:30:19,500
♪ Oh ♪
548
00:30:21,625 --> 00:30:23,500
♪ Oh ♪
549
00:30:23,583 --> 00:30:24,542
♪ (MUSIC ENDS ABRUPTLY) ♪
550
00:30:24,625 --> 00:30:25,875
It just died
in the United States.
551
00:30:25,959 --> 00:30:27,083
It died.
Nobody wanted to hear it.
552
00:30:27,166 --> 00:30:28,792
And you listen to this record
and you think,
553
00:30:28,875 --> 00:30:30,500
"What's the matter
with this country?"
554
00:30:30,583 --> 00:30:32,625
You know? I'm so ashamed
to be an American.
555
00:30:32,709 --> 00:30:35,166
(LAUGHS) You know, it's like,
"What's wrong?"
556
00:30:35,250 --> 00:30:39,792
Um, so-- And that was a big blow
to Spector's career,
557
00:30:39,875 --> 00:30:43,291
and, you know,
maybe Ike, probably,
558
00:30:43,375 --> 00:30:45,291
was thinking, you know,
"Well, see?
559
00:30:45,375 --> 00:30:48,750
He's not so great. (CHUCKLES)
You should stick with me."
560
00:30:48,834 --> 00:30:52,500
Like any Black artist in
America that do, uh, any tune,
561
00:30:52,583 --> 00:30:55,208
it has to go, like, top ten
on the R&B charts
562
00:30:55,291 --> 00:30:57,375
before the top 40 stations
will touch it.
563
00:30:57,458 --> 00:31:00,542
And "River Deep," uh,
was not a Black record,
564
00:31:00,625 --> 00:31:03,375
you know, and so it wouldn't
make the top ten on R&B charts,
565
00:31:03,458 --> 00:31:06,333
and so, therefore, the top 40
radio stations wouldn't play it.
566
00:31:06,417 --> 00:31:08,709
But where in England, they, uh,
they listen to the record,
567
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,
568
00:31:11,792 --> 00:31:13,375
if it's rhythm and blues,
it's rhythm and blues,
569
00:31:13,458 --> 00:31:14,834
and if it's pop,
it's pop, you know,
570
00:31:14,917 --> 00:31:17,041
and so it got played over here.
It never got played in America.
571
00:31:17,125 --> 00:31:18,500
The Black jockeys
say it's too white,
572
00:31:18,583 --> 00:31:19,834
the white jockeys say
it's too Black.
573
00:31:19,917 --> 00:31:22,834
♪ ("CONTACT HIGH" BY
TINA TURNER PLAYING) ♪
574
00:31:26,166 --> 00:31:27,625
TINA: (SINGING)
♪ I was at this party ♪
575
00:31:27,709 --> 00:31:29,834
♪ That had the doors
All closed ♪
576
00:31:32,333 --> 00:31:35,417
♪ All this funny smoke
Kept goin' up my nose ♪
577
00:31:37,959 --> 00:31:41,125
♪ They had this joint
That they was passin' around ♪
578
00:31:43,125 --> 00:31:46,667
♪ But when they got to me
I turned it down... ♪
579
00:31:46,750 --> 00:31:48,542
(HELICOPTER BLADES WHIRRING)
580
00:31:48,625 --> 00:31:50,375
-ARRINGTON: (ARCHIVAL)
You live in LA?
-TINA: Yes.
581
00:31:50,458 --> 00:31:51,917
ARRINGTON: What sort of life
do you have?
582
00:31:52,000 --> 00:31:54,583
TINA: Well, my life is sort
of based around my four sons.
583
00:31:54,667 --> 00:31:57,000
I have a housekeeper that takes
care of them when I travel.
584
00:31:57,083 --> 00:31:59,041
Being a wife and being Tina
at the same time
585
00:31:59,125 --> 00:32:00,375
is almost like a split person.
586
00:32:00,458 --> 00:32:02,750
But I'm able to separate
the two, so everything is fine,
587
00:32:02,834 --> 00:32:05,458
and the whole thing is sane.
588
00:32:05,542 --> 00:32:09,542
TINA: ♪ But everybody got tired
Of blowin' that grass ♪
589
00:32:11,834 --> 00:32:13,166
♪ I told 'em at first... ♪
590
00:32:13,250 --> 00:32:17,333
Ike Junior and Michael
were Ike's kids
591
00:32:17,417 --> 00:32:20,792
by Lorraine,
his previous wife.
592
00:32:20,875 --> 00:32:25,083
Tina had Craig when she was
with the saxophone player,
593
00:32:25,166 --> 00:32:26,375
Raymond Hill,
594
00:32:26,458 --> 00:32:30,083
and then she had Ronnie,
you know, with Ike.
595
00:32:30,166 --> 00:32:33,166
They were, like, all together
by the time I met Tina.
596
00:32:34,667 --> 00:32:36,709
TINA: (ARCHIVAL) Michael,
don't stand on that-- that door,
597
00:32:36,792 --> 00:32:38,709
don't lean
on that door like that.
598
00:32:40,083 --> 00:32:41,500
TINA: (PRESENT)
I made myself a family.
599
00:32:41,583 --> 00:32:44,709
I totally psyched myself out,
and I made a home,
600
00:32:44,792 --> 00:32:48,542
and I found some pleasure
in that home every now and then.
601
00:32:48,625 --> 00:32:50,375
Birthdays with children,
and dinners,
602
00:32:50,458 --> 00:32:52,000
Thanksgiving dinners,
periodically,
603
00:32:52,083 --> 00:32:54,000
but at least I had
some sense of a life
604
00:32:54,083 --> 00:32:55,792
of what I had always wanted.
605
00:32:55,875 --> 00:32:58,125
♪ But I was just too stoned
To take that ride ♪
606
00:32:58,208 --> 00:32:59,792
♪ (MUSIC FADES) ♪
607
00:32:59,875 --> 00:33:02,583
♪ (PIANO MUSIC PLAYING) ♪
608
00:33:04,542 --> 00:33:06,125
CRAIG TURNER:
Where my trophy at?
609
00:33:06,208 --> 00:33:07,458
Give me my trophy.
610
00:33:07,542 --> 00:33:09,709
That's a water boy trophy,
it's not--
611
00:33:09,792 --> 00:33:11,542
-Where's Mother's new trophy?
-SIBLING: Hey, Craig?
612
00:33:11,625 --> 00:33:12,792
-CRAIG: What?
-(INDISTINCT CHATTER)
613
00:33:12,875 --> 00:33:15,458
CRAIG: She was gone
most of the time.
614
00:33:15,542 --> 00:33:17,458
Over a period of eight years,
615
00:33:17,542 --> 00:33:19,041
everything was basically
the same,
616
00:33:19,125 --> 00:33:21,083
eight months on the road,
four months back,
617
00:33:21,166 --> 00:33:24,083
eight months on the road,
four months back.
618
00:33:24,166 --> 00:33:26,125
She was very, very strict,
um,
619
00:33:26,208 --> 00:33:27,583
particularly when she was home.
620
00:33:27,667 --> 00:33:30,458
We couldn't have company
unless we finished our homework,
621
00:33:30,542 --> 00:33:33,417
we had to do our chores,
we had to eat breakfast,
622
00:33:33,500 --> 00:33:35,542
lunch, and dinner
at the same time.
623
00:33:35,625 --> 00:33:39,000
She really took
to raising us personally
624
00:33:39,083 --> 00:33:41,542
because, basically,
that was her happiness
625
00:33:41,625 --> 00:33:42,750
to a certain extent.
626
00:33:44,250 --> 00:33:46,792
ARRINGTON: (ARCHIVAL)
627
00:33:47,125 --> 00:33:48,792
TINA:
628
00:33:53,834 --> 00:33:55,083
ARRINGTON:
629
00:33:55,166 --> 00:33:57,250
TINA:
630
00:34:10,166 --> 00:34:13,792
CRAIG: Everybody was happy
around my mother,
631
00:34:13,875 --> 00:34:15,542
and she was always sad.
632
00:34:15,625 --> 00:34:17,083
She never had friends,
633
00:34:17,166 --> 00:34:19,834
she never had anybody
she could really confide in.
634
00:34:19,917 --> 00:34:22,834
So, basically, her happiness
was with us
635
00:34:22,917 --> 00:34:25,041
and her time alone in her room.
636
00:34:25,125 --> 00:34:27,709
And there was nothing she can do
about her circumstances.
637
00:34:27,792 --> 00:34:29,041
(INDISTINCT CHATTER)
638
00:34:29,125 --> 00:34:31,375
CRAIG: He had to know
where she was at all the time.
639
00:34:31,458 --> 00:34:34,417
She was on allowance,
she didn't have her own money.
640
00:34:34,500 --> 00:34:36,542
My mother really had
a nonexistent life
641
00:34:36,625 --> 00:34:39,500
other than the studio
and the house.
642
00:34:39,583 --> 00:34:43,291
(INDISTINCT CHATTER ECHOING)
643
00:34:43,375 --> 00:34:45,834
KATORI HALL:
When I first interviewed her,
644
00:34:45,917 --> 00:34:47,917
one of the questions
she kept on asking was,
645
00:34:48,000 --> 00:34:51,834
"Why did I stay? Why did I stay?
People wanna know why I stayed."
646
00:34:51,917 --> 00:34:54,583
And for me, it was interesting
647
00:34:54,667 --> 00:34:58,834
to think about the violence
that happened before Ike,
648
00:34:58,917 --> 00:35:01,542
'cause I think a lot of people
don't know that
649
00:35:01,625 --> 00:35:05,166
she grew up watching
violence in her own home.
650
00:35:07,000 --> 00:35:10,166
-(WIND WHISTLING)
-(INSECTS CHIRPING)
651
00:35:13,166 --> 00:35:15,458
TINA: (ARCHIVAL)
652
00:35:24,709 --> 00:35:26,250
-ARRINGTON:
-TINA:
653
00:35:26,333 --> 00:35:27,333
ARRINGTON:
654
00:35:27,417 --> 00:35:28,917
TINA:
655
00:35:29,500 --> 00:35:31,208
ARRINGTON:
656
00:35:31,792 --> 00:35:33,375
TINA:
657
00:35:34,000 --> 00:35:36,166
(PLANTS RUSTLING)
658
00:35:39,959 --> 00:35:41,000
(SIGHS)
659
00:36:45,500 --> 00:36:48,375
♪ ("PROUD MARY" BY IKE
AND TINA TURNER PLAYING) ♪
660
00:36:48,458 --> 00:36:49,709
TINA: And right now...
661
00:36:50,417 --> 00:36:52,208
(APPLAUSE)
662
00:36:52,291 --> 00:36:55,125
I think you might like to hear
something from us...
663
00:36:55,208 --> 00:36:57,834
-nice...
-IKE TURNER: (SINGING) ♪ Left
A good job down in the city♪
664
00:36:57,917 --> 00:37:01,125
-TINA: ...and easy.
-(AUDIENCE CHEERS)
665
00:37:01,208 --> 00:37:03,750
-IKE: ♪ Working for the man... ♪
-TINA: Well, now...
666
00:37:04,458 --> 00:37:06,792
I'd like to do that for you.
667
00:37:06,875 --> 00:37:09,834
But there's just one thing.
You see...
668
00:37:09,917 --> 00:37:12,500
we never, ever do nothing...
669
00:37:13,709 --> 00:37:16,375
-nice and easy.
-♪ (IKE CONTINUES SINGING) ♪
670
00:37:16,458 --> 00:37:21,291
TINA: (CHUCKLES)
We always do it nice...
671
00:37:21,792 --> 00:37:23,291
and rough.
672
00:37:24,458 --> 00:37:26,750
And we're gonna take
the beginning of this song,
673
00:37:27,542 --> 00:37:31,041
and we're gonna do it... easy.
674
00:37:31,125 --> 00:37:33,625
-(SINGING) ♪ Rolling ♪
-IKE: ♪ Rolling ♪
675
00:37:33,709 --> 00:37:37,291
-TINA: ♪ Rolling on a river ♪
-IKE: ♪ Rolling on a river
My, my ♪
676
00:37:37,375 --> 00:37:38,542
TINA: Listen.
677
00:37:39,375 --> 00:37:41,417
(SINGING) ♪ I left a good job ♪
678
00:37:41,500 --> 00:37:43,917
-♪ In the city ♪
-IKE: ♪ Down in the city ♪
679
00:37:44,000 --> 00:37:46,667
ARRINGTON: (ARCHIVAL)
680
00:37:50,208 --> 00:37:52,166
TINA:
681
00:38:03,166 --> 00:38:05,750
-♪ (MUSIC CONTINUES) ♪
-(AUDIENCE CLAPPING)
682
00:38:05,834 --> 00:38:10,458
TINA: (SINGING)
♪ Proud Mary keep on burning ♪
683
00:38:10,542 --> 00:38:12,959
-♪ And we're rollin'... ♪
-IKE: ♪ Rollin' ♪
684
00:38:13,041 --> 00:38:15,959
TINA: (PRESENT)
I was truly a friend to Ike.
685
00:38:16,041 --> 00:38:18,333
I had promised
that I would help him...
686
00:38:19,792 --> 00:38:24,000
so I was still trying
to help him to get a hit record.
687
00:38:24,083 --> 00:38:27,792
♪ The river ♪
688
00:38:27,875 --> 00:38:29,250
IKE:
Two, three, four, come on!
689
00:38:29,333 --> 00:38:32,250
♪ (MUSIC TEMPO SPEEDS UP) ♪
690
00:38:34,583 --> 00:38:35,583
Whoo!
691
00:38:39,208 --> 00:38:42,041
♪ Now I left a good job
In the city ♪
692
00:38:42,125 --> 00:38:44,792
♪ Working for the man
Every night and day ♪
693
00:38:44,875 --> 00:38:47,291
♪ And I never lost
One minute of sleepin' ♪
694
00:38:47,375 --> 00:38:50,083
♪ Worryin' 'bout the way
Things might have been ♪
695
00:38:50,166 --> 00:38:52,959
-♪ Big wheel keep on turnin' ♪
-♪ Turnin' ♪
696
00:38:53,041 --> 00:38:55,458
-♪ Proud Mary keep on burnin' ♪
-♪ Burnin' ♪
697
00:38:55,542 --> 00:38:57,083
-♪ Rollin' ♪
-♪ Yeah ♪
698
00:38:57,166 --> 00:38:58,458
-♪ Rollin' ♪
-♪ All right ♪
699
00:38:58,542 --> 00:39:00,375
♪ Rollin' on the river ♪
700
00:39:00,458 --> 00:39:01,875
♪ I said we're rollin' ♪
701
00:39:01,959 --> 00:39:03,583
-♪ Rollin' ♪
-♪ Yeah ♪
702
00:39:03,667 --> 00:39:06,083
♪ Rollin' on the river ♪
703
00:39:06,166 --> 00:39:08,834
♪ River doo-doo-doo
Doo-doo-doo-doo ♪
704
00:39:08,917 --> 00:39:10,250
♪ Doo-doo-doo-doo ♪
705
00:39:13,583 --> 00:39:15,417
(CROWD CHEERING)
706
00:39:18,500 --> 00:39:20,709
TINA: (PRESENT)
"Proud Mary" became a hit.
707
00:39:20,792 --> 00:39:22,333
We were all over America.
708
00:39:22,417 --> 00:39:25,625
(SINGING) ♪ And I pumped a lot
Of 'tane down in New Orleans ♪
709
00:39:25,709 --> 00:39:28,208
♪ But I never saw
The good side of the city ♪
710
00:39:28,291 --> 00:39:30,834
♪ Till I hitched a ride
On the riverboat queen ♪
711
00:39:30,917 --> 00:39:32,125
♪ Big wheel keep on turnin'... ♪
712
00:39:32,208 --> 00:39:34,000
PHOTOGRAPHER: That's fabulous.
713
00:39:34,083 --> 00:39:36,083
INTERVIEWER 5: Who settles
an argument if you--
714
00:39:36,166 --> 00:39:39,959
Ah, things are not always
the way they look, you know.
715
00:39:40,041 --> 00:39:41,417
INTERVIEWER 5:
No, Ike's kinda quiet.
716
00:39:41,500 --> 00:39:42,667
TINA: Yeah, he's-- he's--
717
00:39:42,750 --> 00:39:45,792
Ike is very bashful
when the lights are on, and--
718
00:39:45,875 --> 00:39:47,625
(LAUGHTER)
719
00:39:47,709 --> 00:39:49,208
TINA: But on the other hand,
720
00:39:49,291 --> 00:39:50,792
when he's in
the recording studio,
721
00:39:50,875 --> 00:39:52,667
Ike's the one that does
all of the ruling around,
722
00:39:52,750 --> 00:39:55,125
the talking,
he's the whole thing.
723
00:39:55,208 --> 00:39:56,625
INTERVIEWER 5:
But in public, he's like this.
724
00:39:56,709 --> 00:39:59,041
Yeah, 'cause he can't get it
together. It takes him--
725
00:39:59,125 --> 00:40:00,917
(LAUGHTER)
726
00:40:03,417 --> 00:40:06,834
ARRINGTON: (ARCHIVAL)
727
00:40:11,041 --> 00:40:12,959
TINA:
728
00:40:24,542 --> 00:40:27,458
(SINGING) ♪ You better do it
I said we're rollin'... ♪
729
00:40:27,542 --> 00:40:30,625
TINA: (PRESENT)
730
00:40:32,000 --> 00:40:35,375
(SINGING) ♪ Rollin'
Rollin' on the river ♪
731
00:40:35,458 --> 00:40:37,333
♪ Whoa ♪
732
00:40:37,750 --> 00:40:41,041
TINA:
733
00:40:42,500 --> 00:40:44,083
♪ (MUSIC FADES) ♪
734
00:40:44,166 --> 00:40:47,834
♪ (TINA SINGING INDISTINCTLY) ♪
735
00:40:50,041 --> 00:40:51,500
♪ Hey ♪
736
00:40:54,083 --> 00:40:56,375
TINA:
737
00:41:04,875 --> 00:41:09,750
♪ (TINA SINGING INDISTINCTLY) ♪
738
00:41:09,834 --> 00:41:12,959
I swear you're behind me.
Y'all behind me, right?
739
00:41:13,041 --> 00:41:15,625
These are-- I'm on--
I'm on a speed above
740
00:41:15,709 --> 00:41:16,834
where y'all feel that.
741
00:41:16,917 --> 00:41:19,166
-You don't hear me.
-(TINA SPEAKING INDISTINCTLY)
742
00:41:19,709 --> 00:41:21,542
TINA:
743
00:41:26,875 --> 00:41:28,291
I'm just sayin', like,
you're telling her--
744
00:41:28,375 --> 00:41:30,041
you're tellin' her that,
and she's not getting there.
745
00:41:30,125 --> 00:41:31,917
I'm just trying to give her
an example...
746
00:41:32,417 --> 00:41:33,875
of how to sing.
747
00:41:34,792 --> 00:41:37,333
IKE: Okay. (SPEAKS INDISTINCTLY)
748
00:41:40,458 --> 00:41:42,667
TINA: (PRESENT)
749
00:41:55,542 --> 00:41:57,417
CRAIG: In the later part
of their career when, you know,
750
00:41:57,500 --> 00:41:58,458
the hits weren't coming in,
751
00:41:58,542 --> 00:41:59,875
a lot of money
wasn't coming in,
752
00:41:59,959 --> 00:42:02,625
he started placing
the blame elsewhere.
753
00:42:02,709 --> 00:42:05,333
You know, he took a lot
of his anger out on her.
754
00:42:05,417 --> 00:42:07,000
♪ (SOMBER MUSIC PLAYING) ♪
755
00:42:07,083 --> 00:42:10,709
CRAIG: Most of the time, um,
when Ike would come home,
756
00:42:10,792 --> 00:42:12,667
he would take her
back in the room
757
00:42:12,750 --> 00:42:14,083
and then close the door.
758
00:42:14,166 --> 00:42:16,500
And there'd be the screams.
759
00:42:16,583 --> 00:42:18,458
And we were so petrified,
we were in bed
760
00:42:18,542 --> 00:42:21,041
with the, you know,
covers over our heads.
761
00:42:21,125 --> 00:42:24,583
And then I remember
one time he was, uh...
762
00:42:24,667 --> 00:42:27,458
(BREATHES DEEPLY, CLEARS THROAT)
763
00:42:29,166 --> 00:42:31,750
(VOICE SHAKING) ...he was,
um, striking my mother,
764
00:42:32,542 --> 00:42:33,959
and I was young,
765
00:42:34,041 --> 00:42:38,125
and, uh, he had thrown
some scalding hot coffee on her.
766
00:42:40,125 --> 00:42:42,000
And I went,
banged on the door...
767
00:42:43,709 --> 00:42:45,959
and I said, "Mother!"
And then it stopped,
768
00:42:46,041 --> 00:42:47,834
and then she said,
"Craig, I'm okay."
769
00:42:49,625 --> 00:42:52,333
He came to apologize,
770
00:42:52,417 --> 00:42:55,375
and he apologized
for the third-degree burn
771
00:42:55,458 --> 00:42:58,041
but didn't apologize
for throwing the coffee on her.
772
00:42:58,125 --> 00:43:00,041
At that point in time,
I hated that man
773
00:43:00,125 --> 00:43:01,959
for the rest of my life.
774
00:43:02,041 --> 00:43:05,125
And I will never forget that,
never.
775
00:43:11,250 --> 00:43:13,458
TINA: (ARCHIVAL)
776
00:43:22,834 --> 00:43:24,667
I had begun to not really care.
777
00:43:27,500 --> 00:43:29,959
And I was there alone.
778
00:43:30,041 --> 00:43:32,166
How can I tell you
what alone meant?
779
00:44:02,875 --> 00:44:06,166
(INDISTINCT SINGING, LAUGHING)
780
00:44:06,250 --> 00:44:07,834
TINA:
781
00:44:14,500 --> 00:44:17,083
ALL: (SINGING)
♪ Tell me have you seen him ♪
782
00:44:17,166 --> 00:44:18,709
(LAUGHING)
783
00:44:21,166 --> 00:44:23,000
TINA:
784
00:44:34,667 --> 00:44:37,542
GRAAM: We got to the hospital,
and they pumped her stomach
785
00:44:37,625 --> 00:44:41,166
and Ike was out talking
to the doctor or something,
786
00:44:41,250 --> 00:44:42,959
and I was in there,
just her and I,
787
00:44:43,041 --> 00:44:45,333
and I was scared shitless,
and I said,
788
00:44:45,417 --> 00:44:47,417
"Tina, you can't die on me.
Come on, now."
789
00:44:47,500 --> 00:44:49,667
It just really scared me,
'cause I didn't know what had--
790
00:44:49,750 --> 00:44:54,125
you know-- if she was gonna
pull through or not.
791
00:44:54,750 --> 00:44:58,917
(INAUDIBLE)
792
00:45:04,250 --> 00:45:05,750
TINA: (PRESENT)
793
00:45:09,000 --> 00:45:11,125
♪ (MUSIC STOPS) ♪
794
00:45:21,667 --> 00:45:24,125
-INTERVIEWER 6: These are some
difficult questions, now, and...
-IKE: Okay.
795
00:45:24,208 --> 00:45:26,667
INTERVIEWER 6: ...there was
a time when she was unhappy,
796
00:45:26,750 --> 00:45:28,333
and there was
a suicide attempt.
797
00:45:28,417 --> 00:45:30,375
Can you talk
about her unhappiness
798
00:45:30,458 --> 00:45:32,125
and how that made you feel?
799
00:45:36,458 --> 00:45:38,875
Well, I can't really say
how I felt
800
00:45:38,959 --> 00:45:41,875
because I never knew
how she felt.
801
00:45:41,959 --> 00:45:45,959
I didn't know why
she attempted suicide, uh, uh,
802
00:45:46,041 --> 00:45:49,792
because I thought maybe
that it was a, uh, uh...
803
00:45:51,250 --> 00:45:52,291
well...
804
00:45:54,709 --> 00:45:55,709
Let me start this again.
805
00:45:55,792 --> 00:45:58,208
Uh, all right,
at first, Tina, um,
806
00:45:58,291 --> 00:46:01,000
attempting suicide
two or three times,
807
00:46:01,083 --> 00:46:04,917
um, I think that
this was some form of attention.
808
00:46:05,000 --> 00:46:08,583
Um, she was unhappy about
the things that I was doing.
809
00:46:08,667 --> 00:46:10,792
Uh, um, me being a womanizer,
810
00:46:10,875 --> 00:46:13,041
being with all these women
and stuff like this.
811
00:46:13,125 --> 00:46:15,291
And I think that, uh,
the real truth
812
00:46:15,375 --> 00:46:20,083
is that she was trying
to be something that she wasn't.
813
00:46:20,166 --> 00:46:22,917
She was-- Wait a minute,
I wanna clarify this.
814
00:46:23,000 --> 00:46:27,583
She was trying to be
what she thought I wanted.
815
00:46:27,667 --> 00:46:29,709
Not what she-- what really was.
816
00:46:29,792 --> 00:46:32,583
She was trying to please me,
and so therefore,
817
00:46:32,667 --> 00:46:34,208
she was going through
a lot of hurt
818
00:46:34,291 --> 00:46:36,917
and I think she had a very
unhappy life because of that.
819
00:46:37,000 --> 00:46:38,500
I think we were living a lie,
820
00:46:38,583 --> 00:46:42,125
and, uh, if I'd have
used my head any at all,
821
00:46:42,208 --> 00:46:44,250
I would've known better.
822
00:46:44,333 --> 00:46:48,709
And so this is what led
to our, um, downfall.
823
00:46:51,083 --> 00:46:54,709
♪ (SOMBER MUSIC PLAYING) ♪
824
00:46:57,834 --> 00:47:00,500
ARRINGTON: (ARCHIVAL)
825
00:47:08,500 --> 00:47:10,333
TINA:
826
00:47:16,375 --> 00:47:18,917
(INDISTINCT CHATTER)
827
00:47:38,166 --> 00:47:39,166
ARRINGTON: Mm-hmm.
828
00:47:39,250 --> 00:47:40,792
TINA: (ARCHIVAL)
829
00:47:45,959 --> 00:47:47,583
(LAUGHS)
830
00:47:51,291 --> 00:47:54,417
TINA: (PRESENT)
Buddhism was a way out.
831
00:47:55,333 --> 00:47:58,125
And it changed your attitude
towards
832
00:47:58,208 --> 00:47:59,750
the situation that you're in.
833
00:47:59,834 --> 00:48:02,041
The more you chant,
the more, you know,
834
00:48:02,125 --> 00:48:04,792
you become liberated mentally.
835
00:48:05,625 --> 00:48:08,917
TINA: (ARCHIVAL)
836
00:48:15,125 --> 00:48:18,041
(CHANTING) Nam myoho renge kyo,
nam myoho renge kyo,
837
00:48:18,125 --> 00:48:20,750
nam myoho renge kyo,
nam myoho renge kyo,
838
00:48:20,834 --> 00:48:23,625
nam myoho renge kyo,
nam myoho renge kyo,
839
00:48:23,709 --> 00:48:26,542
nam myoho renge kyo,
nam myoho renge kyo,
840
00:48:26,625 --> 00:48:29,375
nam myoho renge kyo,
nam myoho renge kyo,
841
00:48:29,458 --> 00:48:32,500
nam myoho renge kyo,
nam myoho renge kyo...
842
00:48:41,834 --> 00:48:43,291
(CONTINUES CHANTING)
843
00:48:43,375 --> 00:48:45,125
-(CHEERING)
-(CONTINUES CHANTING)
844
00:48:45,208 --> 00:48:47,291
-(LAUGHTER)
-(CONTINUES CHANTING)
845
00:48:47,375 --> 00:48:49,166
-(INDISTINCT CHATTER)
-(CONTINUES CHANTING)
846
00:48:50,542 --> 00:48:54,000
TINA:
847
00:48:55,667 --> 00:48:56,834
(CHANTING STOPS)
848
00:48:56,917 --> 00:49:01,583
(SINGING) ♪ Yo ♪
849
00:49:01,667 --> 00:49:04,750
CROWD: (SINGING) ♪ Yo ♪
850
00:49:04,834 --> 00:49:07,000
TINA:
851
00:49:11,291 --> 00:49:15,667
(SINGING) ♪ Yo, ha-yo
Hey! ♪
852
00:49:16,375 --> 00:49:18,041
CROWD: (SINGING)
♪ Yo ♪
853
00:49:18,125 --> 00:49:20,625
(CHANTING RESUMES)
854
00:49:24,291 --> 00:49:27,750
TINA:
855
00:49:29,375 --> 00:49:32,125
(SINGING) ♪ Every woman's
Got to be respected ♪
856
00:49:32,208 --> 00:49:35,208
♪ Every little girl's
Got to have her respect ♪
857
00:49:37,041 --> 00:49:38,959
FLETCHER:
Ike had recognized it too,
858
00:49:39,041 --> 00:49:41,375
that he couldn't control
her anymore
859
00:49:41,458 --> 00:49:44,375
because she just wasn't
putting up with any of that.
860
00:49:44,458 --> 00:49:46,250
Right now,
861
00:49:46,333 --> 00:49:48,208
I'm gonna talk about respect,
862
00:49:48,917 --> 00:49:50,375
because you see...
863
00:49:51,542 --> 00:49:53,375
respect is what I want.
864
00:49:54,625 --> 00:49:57,291
I think it's what most
of us want.
865
00:49:57,375 --> 00:50:00,041
But, you know, we don't always
get what we want.
866
00:50:00,667 --> 00:50:02,458
Especially us women.
867
00:50:02,542 --> 00:50:03,917
(AUDIENCE CHEERING)
868
00:50:04,041 --> 00:50:06,000
Tonight, I'm gonna speak
for us women, you see,
869
00:50:06,083 --> 00:50:09,792
because somehow, the men
870
00:50:09,875 --> 00:50:12,875
always manage to get
what they want.
871
00:50:13,500 --> 00:50:15,291
That's right.
872
00:50:15,375 --> 00:50:16,792
They do what they wanna do
873
00:50:17,959 --> 00:50:19,709
whenever they want to do it.
874
00:50:20,250 --> 00:50:22,166
And you know what?
875
00:50:22,250 --> 00:50:25,375
They do it with whoever
they want to do it with.
876
00:50:26,375 --> 00:50:28,250
But that's just started us women
to thinking.
877
00:50:28,959 --> 00:50:30,834
Yeah, we can think too.
878
00:50:30,917 --> 00:50:34,250
We think that whatever's
out there in the streets
879
00:50:34,917 --> 00:50:37,000
must be good.
880
00:50:37,083 --> 00:50:40,667
'Cause your man's been
out there a long time.
881
00:50:40,750 --> 00:50:43,709
Now us women wants to go out
there and get us some too.
882
00:50:43,792 --> 00:50:45,041
(LAUGHS)
883
00:50:45,125 --> 00:50:46,542
I want you to...
884
00:50:46,625 --> 00:50:48,250
(SINGING)
♪ To get together ♪
885
00:50:48,333 --> 00:50:50,875
♪ I want you to try to feel it ♪
886
00:50:50,959 --> 00:50:52,500
♪ Try to feel it ♪
887
00:50:52,583 --> 00:50:55,875
♪ And I want everybody
To do a soul clap ♪
888
00:50:55,959 --> 00:50:57,125
♪ Clap your hands ♪
889
00:50:57,709 --> 00:50:58,959
♪ Clap, clap ♪
890
00:50:59,500 --> 00:51:00,917
♪ Clap, clap ♪
891
00:51:01,000 --> 00:51:03,000
♪ Clap your hands, everybody ♪
892
00:51:09,500 --> 00:51:11,709
♪ Show some respect ♪
893
00:51:11,792 --> 00:51:14,625
♪ Just give me
Just give me respect ♪
894
00:51:14,709 --> 00:51:16,125
♪ Just give me ♪
895
00:51:18,917 --> 00:51:20,667
♪ Just give me respect ♪
896
00:51:20,750 --> 00:51:22,542
-♪ Just give me ♪
-TINA: ♪ Got to have ♪
897
00:51:22,625 --> 00:51:24,208
-♪ Just give me ♪
-♪ Come on ♪
898
00:51:24,291 --> 00:51:26,166
-♪ Just give me ♪
-♪ Got to have ♪
899
00:51:28,083 --> 00:51:29,166
♪ Oh, yeah... ♪
900
00:51:29,834 --> 00:51:31,333
♪ (MUSIC FADES) ♪
901
00:51:31,417 --> 00:51:33,333
TINA:
902
00:51:37,375 --> 00:51:41,000
ARRINGTON: (ARCHIVAL)
903
00:51:42,333 --> 00:51:45,000
TINA:
904
00:51:49,500 --> 00:51:51,542
♪ (SOMBER MUSIC PLAYING) ♪
905
00:51:59,041 --> 00:52:00,417
IKE: Okay, okay.
906
00:52:00,500 --> 00:52:01,834
TINA:
907
00:52:44,875 --> 00:52:47,083
♪ (DRAMATIC MUSIC PLAYING)
908
00:53:05,834 --> 00:53:07,583
♪ (MUSIC QUIETS) ♪
909
00:53:40,959 --> 00:53:43,500
♪ (DRAMATIC MUSIC CONTINUES) ♪
910
00:54:01,959 --> 00:54:03,875
(CAR ENGINES RUMBLING)
911
00:54:03,959 --> 00:54:05,250
♪ (MUSIC STOPS) ♪
912
00:54:05,333 --> 00:54:08,208
The memory of that
was horrendous, of course,
913
00:54:08,291 --> 00:54:11,333
because I was practically
run over by a truck.
914
00:54:11,417 --> 00:54:12,875
I didn't-- I didn't--
915
00:54:12,959 --> 00:54:14,583
Well, I wasn't thinking clearly,
of course.
916
00:54:14,667 --> 00:54:18,125
And so I thought at that point
was a time when I could cross.
917
00:54:18,208 --> 00:54:21,375
But, you know, I felt like
I was moving slow.
918
00:54:21,458 --> 00:54:22,792
And there was that big truck,
919
00:54:22,875 --> 00:54:24,458
really one of the big ones
coming,
920
00:54:24,542 --> 00:54:27,583
and the horn blew and...
(IMITATES HORN BLARING)
921
00:54:27,667 --> 00:54:33,375
And what I mostly remember
is flashing lights.
922
00:54:33,458 --> 00:54:35,959
-♪ (MUSIC RESUMES) ♪
-(HORN BLARES)
923
00:54:42,625 --> 00:54:44,166
(ENGINES RUMBLING)
924
00:54:47,250 --> 00:54:49,625
♪ (MUSIC CONTINUES) ♪
925
00:54:52,000 --> 00:54:53,834
(TRUCK HORN BLARES)
926
00:55:07,041 --> 00:55:09,750
♪ (MUSIC FADES) ♪
927
00:55:12,709 --> 00:55:14,875
(CRICKETS CHIRPING)
928
00:55:17,625 --> 00:55:19,542
TINA: (ARCHIVAL)
929
00:56:02,834 --> 00:56:06,458
♪ (DRAMATIC MUSIC PLAYING) ♪
930
00:56:07,917 --> 00:56:10,083
The next day,
it was the Fourth of July,
931
00:56:10,166 --> 00:56:11,917
and I said,
"Well, the Fourth of July,"
932
00:56:12,000 --> 00:56:13,208
but I'll remember every time,
933
00:56:13,291 --> 00:56:16,583
"Oh, Fourth of July,
that's when I got my freedom."
934
00:56:17,750 --> 00:56:19,792
♪ (MUSIC CONTINUES) ♪
935
00:56:22,583 --> 00:56:25,458
(FIREWORKS POPPING)
936
00:56:50,667 --> 00:56:52,625
♪ (MUSIC CONCLUDES) ♪
937
00:56:52,709 --> 00:56:56,375
TINA: (PRESENT) The divorce
was... clean-cut.
938
00:56:56,458 --> 00:57:00,291
I got nothing.
No money, no house, no car.
939
00:57:00,917 --> 00:57:04,333
ARRINGTON: (ARCHIVAL)
940
00:57:04,417 --> 00:57:06,166
TINA: (ARCHIVAL)
941
00:57:09,166 --> 00:57:11,375
ARRINGTON:
942
00:57:11,458 --> 00:57:13,625
TINA:
943
00:57:20,667 --> 00:57:21,834
ARRINGTON: Mm-hmm.
944
00:57:23,083 --> 00:57:25,166
TINA:
945
00:57:29,583 --> 00:57:32,750
TINA: (PRESENT)
That is when I realized
that I could use Tina
946
00:57:32,834 --> 00:57:36,667
to become a business.
947
00:57:38,375 --> 00:57:40,709
And so I said,
"I'll just take my name."
948
00:57:43,250 --> 00:57:44,458
Ike fought a little bit
949
00:57:44,542 --> 00:57:47,166
because he knew
what I would do with it,
950
00:57:47,250 --> 00:57:51,166
and it was through court
that I got it, Tina.
951
00:57:55,709 --> 00:57:58,959
HALL:
To keep it... is to reclaim it.
952
00:57:59,041 --> 00:58:01,208
Reshape it, refine it.
953
00:58:03,542 --> 00:58:06,291
Also a kind of like,
"fuck you" to Ike.
954
00:58:06,375 --> 00:58:08,875
"Yeah, you gave me this name,
955
00:58:08,959 --> 00:58:11,291
but watch what I build with it."
956
00:58:11,375 --> 00:58:14,917
♪ ("ROOT, TOOT, UNDISPUTABLE
ROCK 'N' ROLLER"
BY TINA TURNER PLAYING) ♪
957
00:58:19,709 --> 00:58:22,375
♪ When you walk into the bar ♪
958
00:58:22,458 --> 00:58:25,417
♪ I'm the first one
You're gonna see ♪
959
00:58:26,834 --> 00:58:29,375
♪ Business and pleasure
Just don't mix ♪
960
00:58:29,458 --> 00:58:32,250
♪ So can I take
Your order please? ♪
961
00:58:33,959 --> 00:58:36,500
♪ You fellas know
I don't take no mess ♪
962
00:58:36,583 --> 00:58:42,000
♪ It's a whole lotta woman
In this dress ♪
963
00:58:42,083 --> 00:58:48,000
♪ Oh, they call me
Root toot undisputable ♪
964
00:58:48,083 --> 00:58:50,667
♪ Rock and Roller ♪
965
00:58:50,750 --> 00:58:54,834
♪ I got a fine fanny
But a rough-talking Annie ♪
966
00:58:54,917 --> 00:58:56,917
♪ Rock and Roller ♪
967
00:58:57,959 --> 00:58:59,500
♪ Ow... ♪
968
00:58:59,583 --> 00:59:01,333
TINA: (PRESENT)
I realized I had to go to work.
969
00:59:01,417 --> 00:59:03,041
I mean,
I couldn't just stay there
970
00:59:03,125 --> 00:59:06,375
and wait for what?
I had to work.
971
00:59:06,458 --> 00:59:07,709
LODER: After Tina left Ike,
972
00:59:07,792 --> 00:59:10,041
somebody had to pay
for all the dates they blew,
973
00:59:10,125 --> 00:59:12,250
and Tina wound up
with all the bills,
974
00:59:12,333 --> 00:59:13,834
none of the money.
975
00:59:13,917 --> 00:59:15,041
She would go do Vegas.
976
00:59:15,125 --> 00:59:17,000
She'd go do, like,
McDonald's conventions.
977
00:59:17,083 --> 00:59:19,875
She'd play anywhere just
to make the money to get by.
978
00:59:19,959 --> 00:59:23,208
TINA: (SINGING) ♪ Everybody
Knows to keep it cool... ♪
979
00:59:23,291 --> 00:59:25,834
GRAAM: Ike wasn't paying
anything at that point.
980
00:59:25,917 --> 00:59:29,625
So she's gotta support herself
and the kids.
981
00:59:29,709 --> 00:59:32,125
So that's when I started
booking television shows.
982
00:59:32,208 --> 00:59:34,750
I mean, we were doing everything
from The Brady Bunch...
983
00:59:36,291 --> 00:59:37,959
(SINGING) ♪ Too many nights... ♪
984
00:59:38,041 --> 00:59:41,125
-GRAAM: ...to Hollywood Squares.
-ANNOUNCER 2:
...in The Hollywood Squares!
985
00:59:41,208 --> 00:59:43,125
GRAAM: Whatever TV shows
we could get her on,
986
00:59:43,208 --> 00:59:45,208
because that was the only
source of income at that point.
987
00:59:45,291 --> 00:59:47,250
PETER MARSHALL:
Ike and Tina, where's Ike?
988
00:59:47,333 --> 00:59:50,250
-I don't know.
-(LAUGHTER)
989
00:59:50,333 --> 00:59:52,250
MARSHALL: So nice to have
you on this show, Tina.
990
00:59:52,333 --> 00:59:53,583
Thank you.
991
00:59:53,667 --> 00:59:56,417
ANNIE BEHRINGER: What I remember
is there was always the shadow
992
00:59:56,500 --> 00:59:58,709
of Ike Turner.
993
00:59:58,792 --> 01:00:02,792
It was really hard for her,
you know.
994
01:00:02,875 --> 01:00:05,083
Is it all right for me
to ask you if you and Ike
995
01:00:05,166 --> 01:00:08,542
are together, or separated,
or divorced, or...?
996
01:00:09,333 --> 01:00:11,041
Separated and divorced.
(LAUGHS)
997
01:00:11,125 --> 01:00:12,750
INTERVIEWER 7:
Separated and divorced?
998
01:00:12,834 --> 01:00:14,291
Yeah. We are divorced.
999
01:00:14,375 --> 01:00:17,208
-INTERVIEWER 7: Yeah, it took
a while for you to decide.
-Oh, yes.
1000
01:00:17,291 --> 01:00:19,750
Well, yes. It was--
I mean, we're family,
1001
01:00:19,834 --> 01:00:22,417
-we've been together
for, like, 16 years.
-INTERVIEWER 7: Yeah.
1002
01:00:22,500 --> 01:00:25,208
-Ike and Tina Turner, that--
that was a unit.
-Yeah.
1003
01:00:25,291 --> 01:00:27,458
They still-- People still
call me "Ike and Tina."
1004
01:00:27,542 --> 01:00:29,208
-Ike and Tina. (CHUCKLES)
-Yeah, they do.
1005
01:00:29,291 --> 01:00:32,041
BEHRINGER: He triggered
a lot of trauma.
1006
01:00:32,750 --> 01:00:34,500
Just the thought of him.
1007
01:00:34,583 --> 01:00:36,667
You know,
'cause there was a lot.
1008
01:00:36,750 --> 01:00:39,125
But she's a professional.
She'd get on stage,
1009
01:00:39,208 --> 01:00:43,166
you'd never know
anything was up. Ever.
1010
01:00:43,250 --> 01:00:45,333
TINA: (ARCHIVAL)
Five, six, seven, eight.
1011
01:00:45,417 --> 01:00:48,750
(SINGING) ♪ My head
I hear music in-- ♪
1012
01:00:48,834 --> 01:00:51,291
♪ I hear music ♪
1013
01:00:51,375 --> 01:00:57,166
♪ That lets me know
There's a party going down ♪
1014
01:00:57,250 --> 01:01:00,542
♪ La-la-la-la
La-la-la-la... ♪
1015
01:01:03,000 --> 01:01:04,709
TINA: (PRESENT)
I was-- I was becoming stagnant.
1016
01:01:04,792 --> 01:01:06,458
I knew
that there was something else,
1017
01:01:06,542 --> 01:01:08,417
and I realized
I wasn't going anywhere.
1018
01:01:08,500 --> 01:01:09,959
I'd be in Las Vegas
all my life.
1019
01:01:10,041 --> 01:01:11,583
Five, six, seven, eight,
1020
01:01:11,667 --> 01:01:13,166
change position,
two, three four...
1021
01:01:13,250 --> 01:01:15,333
TINA: (PRESENT)
I was ready to get out there.
1022
01:01:15,417 --> 01:01:17,208
This is fine,
what you've got so far,
1023
01:01:17,291 --> 01:01:19,208
but it's not good enough.
1024
01:01:19,291 --> 01:01:21,917
Well then, the next question is,
but you'll have to get
1025
01:01:22,000 --> 01:01:23,417
someone to organize that.
1026
01:01:23,500 --> 01:01:25,834
That is when
Roger came into the picture.
1027
01:01:25,917 --> 01:01:28,041
♪ ("HEARTACHE TONIGHT"
BY OLIVIA NEWTON-JOHN PLAYING) ♪
1028
01:01:28,125 --> 01:01:31,125
(SINGING) ♪ Somebody's
Gonna hurt someone ♪
1029
01:01:32,250 --> 01:01:34,750
♪ Before the night
Is through... ♪
1030
01:01:36,750 --> 01:01:39,125
ROGER DAVIES: Well, I was
working with Olivia Newton-John,
1031
01:01:39,208 --> 01:01:41,583
and we were doing
a television special
1032
01:01:41,667 --> 01:01:43,041
called Hollywood Nights.
1033
01:01:43,125 --> 01:01:45,291
And Olivia had this desire
1034
01:01:45,375 --> 01:01:47,625
to have really strong
female singers
1035
01:01:47,709 --> 01:01:49,375
back her in one or two songs.
1036
01:01:49,458 --> 01:01:51,667
♪ If it takes all night ♪
1037
01:01:51,750 --> 01:01:54,125
DAVIES: We had a list
of people we asked,
1038
01:01:54,208 --> 01:01:56,458
Toni Tennille,
Captain &Tennille.
1039
01:01:56,542 --> 01:01:58,375
I think Peaches was in it,
1040
01:01:58,458 --> 01:02:02,709
Tina Turner, and that's
when I first met Tina.
1041
01:02:02,792 --> 01:02:05,875
(SINGING) ♪ It's gonna be
A heartache tonight ♪
1042
01:02:05,959 --> 01:02:09,375
♪ A heartache tonight
I know ♪
1043
01:02:09,458 --> 01:02:11,000
♪ Yes, I know ♪
1044
01:02:11,083 --> 01:02:13,583
♪ It's gonna be
A heartache tonight... ♪
1045
01:02:13,667 --> 01:02:15,875
I remember when I walked
into Roger's office,
1046
01:02:15,959 --> 01:02:17,375
he looked at me.
1047
01:02:17,458 --> 01:02:19,125
I will never forget that look.
1048
01:02:19,208 --> 01:02:21,041
It was in wonder, like,
1049
01:02:21,125 --> 01:02:23,959
"How old is she?
What can I do with her?"
1050
01:02:24,041 --> 01:02:26,166
All of that. And then I said,
1051
01:02:26,250 --> 01:02:28,208
"I simply want a manager.
I don't know what to do.
1052
01:02:28,291 --> 01:02:30,125
I need to work,
I want to work."
1053
01:02:30,208 --> 01:02:33,667
And then he said, "I need
to see what you do."
1054
01:02:33,750 --> 01:02:37,125
And so I said, "Well,
I'm opening in San Francisco."
1055
01:02:37,208 --> 01:02:39,500
(SINGING)
♪ Now you've heard my story ♪
1056
01:02:40,583 --> 01:02:43,667
♪ You heard
Every word I say... ♪
1057
01:02:43,750 --> 01:02:45,792
DAVIES: They were doing
a two-week residency
1058
01:02:45,875 --> 01:02:48,208
at the Fairmont Hotel
in San Francisco,
1059
01:02:48,291 --> 01:02:49,375
two shows a night.
1060
01:02:49,458 --> 01:02:51,583
♪ Fahrenheit or centigrade ♪
1061
01:02:51,667 --> 01:02:53,041
♪ They give us fever ♪
1062
01:02:53,875 --> 01:02:56,083
(AUDIENCE WHOOPS)
1063
01:02:56,166 --> 01:02:58,041
The first show was supper,
you know,
1064
01:02:58,125 --> 01:03:00,166
everyone eating dinner,
and I'm like going,
1065
01:03:00,250 --> 01:03:01,417
"Christ," you know, this is...
1066
01:03:01,500 --> 01:03:02,917
♪ Fever ♪
1067
01:03:03,000 --> 01:03:04,083
DAVIES: It was very cabaret,
1068
01:03:04,166 --> 01:03:05,792
and they did a lot
of cover versions.
1069
01:03:05,875 --> 01:03:09,000
I didn't react that excited.
(LAUGHS)
1070
01:03:09,083 --> 01:03:11,333
'Cause I didn't think I could
do anything with her.
1071
01:03:11,417 --> 01:03:13,000
♪ Way to burn ♪
1072
01:03:14,000 --> 01:03:17,208
♪ What a lovely way to burn ♪
1073
01:03:17,291 --> 01:03:19,583
♪ (MUSIC TEMPO SPEEDS UP) ♪
1074
01:03:20,291 --> 01:03:22,375
(AUDIENCE CHEERING)
1075
01:03:24,041 --> 01:03:25,750
♪ Burn, baby, burn ♪
1076
01:03:26,125 --> 01:03:27,291
(SHOUTS)
1077
01:03:27,375 --> 01:03:29,625
♪ Burn, baby, burn ♪
1078
01:03:29,709 --> 01:03:31,500
DAVIES: Anyway, we stayed
for the second show,
1079
01:03:31,583 --> 01:03:33,959
and the second show,
being like a nine o'clock show,
1080
01:03:34,041 --> 01:03:37,166
it was people had some drinks,
they were standing on tables
1081
01:03:37,250 --> 01:03:38,959
and Tina was just working
the audience.
1082
01:03:39,041 --> 01:03:42,625
And I went, "Wow. What a great
live performance."
1083
01:03:42,709 --> 01:03:45,583
♪ People getting loose now ♪
1084
01:03:45,667 --> 01:03:48,333
♪ Getting down on the roof ♪
1085
01:03:49,750 --> 01:03:51,542
♪ Folks are screamin' ♪
1086
01:03:52,959 --> 01:03:54,375
♪ Out of control... ♪
1087
01:03:54,458 --> 01:03:56,542
♪ (SONG FADES) ♪
1088
01:03:56,625 --> 01:03:59,250
♪ (DRAMATIC MUSIC PLAYING) ♪
1089
01:04:01,959 --> 01:04:04,041
DAVIES: You know
when you meet an artist
1090
01:04:04,125 --> 01:04:05,667
if they have got something
that grabs you,
1091
01:04:05,750 --> 01:04:07,333
and, obviously, it did to me,
1092
01:04:07,417 --> 01:04:09,542
and she was also
incredibly determined.
1093
01:04:10,834 --> 01:04:13,625
TINA: (PRESENT) Roger said
to me, "What do you want?"
1094
01:04:15,333 --> 01:04:16,542
I had a dream.
1095
01:04:16,625 --> 01:04:19,667
My dream is to be the first
Black rock and roll singer
1096
01:04:19,750 --> 01:04:21,875
to pack places,
like the Stones
1097
01:04:21,959 --> 01:04:24,667
or those people that are packing
those kinds of places, you know?
1098
01:04:24,750 --> 01:04:27,458
DAVIES: "I want to fill
the rock stadiums,
like Mick and Keith."
1099
01:04:27,542 --> 01:04:29,166
And I said, "Yep, that's what
we're gonna do."
1100
01:04:29,250 --> 01:04:30,959
I had no idea
if we were gonna do it,
1101
01:04:31,041 --> 01:04:33,750
'cause there weren't any female
rock artists
1102
01:04:33,834 --> 01:04:36,166
in the world selling out
football stadiums.
1103
01:04:36,250 --> 01:04:38,041
(CHEERING AND APPLAUSE)
1104
01:04:38,125 --> 01:04:40,834
LODER: Tina's problem
after leaving the Ike orbit
1105
01:04:40,917 --> 01:04:43,250
was now she's on her own,
she's just Tina Turner,
1106
01:04:43,333 --> 01:04:44,625
but who is that?
1107
01:04:46,834 --> 01:04:48,750
She is, by this point,
1108
01:04:48,834 --> 01:04:50,709
older than your average
pop stars,
1109
01:04:50,792 --> 01:04:52,041
she's a middle-aged woman.
1110
01:04:52,125 --> 01:04:54,500
Is she R&B, is it--
was it disco?
1111
01:04:54,583 --> 01:04:55,750
Wasn't she doing that recently?
1112
01:04:55,834 --> 01:04:58,917
It was very unclear,
her image was unclear.
1113
01:04:59,000 --> 01:05:01,125
DAVIES: When Tina said,
"I'd like you to manage me,"
1114
01:05:01,208 --> 01:05:02,458
I immediately thought, "Well,
1115
01:05:02,542 --> 01:05:04,208
we've got to get her
a record deal,
1116
01:05:04,291 --> 01:05:05,750
we've got to change the image
1117
01:05:05,834 --> 01:05:08,041
so people
at record companies know
1118
01:05:08,125 --> 01:05:10,709
that you're not just
a Vegas cabaret act.
1119
01:05:10,792 --> 01:05:12,583
We're gonna make it current."
1120
01:05:12,667 --> 01:05:15,125
I said, "We're gonna have
to make a rock show."
1121
01:05:15,208 --> 01:05:19,667
♪ (MUSICAL INSTRUMENTS
SOUND CHECKING) ♪
1122
01:05:21,750 --> 01:05:23,208
TINA: (PRESENT)
I was ready for change.
1123
01:05:23,291 --> 01:05:24,959
I was ready for that.
1124
01:05:25,041 --> 01:05:27,834
(CROWD CHEERING)
1125
01:05:27,917 --> 01:05:30,291
TINA: Well, first of all,
the long hair was a--
1126
01:05:30,375 --> 01:05:32,834
a look that I used
for Ike and Tina.
1127
01:05:33,500 --> 01:05:34,667
So cut the hair.
1128
01:05:36,083 --> 01:05:38,291
That was a change immediately.
1129
01:05:40,333 --> 01:05:42,875
Then the Bob Mackie
clothes went.
1130
01:05:44,750 --> 01:05:47,041
Pulled out some
of my rock and roll dresses,
1131
01:05:47,125 --> 01:05:48,333
the shorter ones.
1132
01:05:49,000 --> 01:05:50,208
And I went to work.
1133
01:05:50,291 --> 01:05:51,583
DRUMMER:
Five, six, seven, eight!
1134
01:05:51,667 --> 01:05:54,500
♪ ("FOOLISH BEHAVIOR"
BY TINA TURNER PLAYING) ♪
1135
01:05:55,166 --> 01:05:56,834
PIANIST: Ladies and gentlemen...
1136
01:05:58,542 --> 01:05:59,959
Tina Turner!
1137
01:06:00,041 --> 01:06:01,875
(AUDIENCE CHEERS)
1138
01:06:08,667 --> 01:06:11,125
♪ Can I introduce myself? ♪
1139
01:06:11,208 --> 01:06:14,458
♪ I'm a girl
Of financial wealth ♪
1140
01:06:14,542 --> 01:06:17,709
♪ Sound in mind
Body, soul, and health ♪
1141
01:06:17,792 --> 01:06:18,834
(GRUNTS)
1142
01:06:18,917 --> 01:06:22,208
♪ And I wanna kill his wife ♪
1143
01:06:22,291 --> 01:06:25,291
♪ I have this urge
To take a life... ♪
1144
01:06:25,375 --> 01:06:27,125
DAVIES: We hired a young band.
1145
01:06:27,208 --> 01:06:29,125
We didn't really have any money,
1146
01:06:29,208 --> 01:06:31,458
so Tina, who had always knew
1147
01:06:31,542 --> 01:06:33,250
what she wanted them
to look like,
1148
01:06:33,333 --> 01:06:36,250
said, "We'll put them
in black karate suits."
1149
01:06:36,333 --> 01:06:38,291
The band hated them. (CHUCKLES)
1150
01:06:38,375 --> 01:06:40,417
The musicians were like,
"Why do we have to wear these?"
1151
01:06:40,500 --> 01:06:42,667
I said, "Well you know, you each
get a different color belt."
1152
01:06:42,750 --> 01:06:46,000
BACKING SINGERS: ♪ He'll escape
Down into Mexico... ♪
1153
01:06:46,083 --> 01:06:47,667
TINA: (PRESENT)
We looked a little bit shabby,
1154
01:06:47,750 --> 01:06:50,083
but that's what
rock and roll is. It's shabby.
1155
01:06:51,417 --> 01:06:53,375
FLETCHER: She wanted two girls,
1156
01:06:53,458 --> 01:06:56,000
to get away, I think,
from that Ikette thing.
1157
01:06:56,083 --> 01:06:58,500
TINA: (SINGING) ♪ Should I act
Quiet, cold, and deliberate... ♪
1158
01:06:58,583 --> 01:07:01,417
FLETCHER:
She was reinventing herself
1159
01:07:01,500 --> 01:07:02,792
as Tina Turner.
1160
01:07:02,875 --> 01:07:04,542
♪ And they'll say suicide
They won't know who done it... ♪
1161
01:07:04,625 --> 01:07:06,834
TINA: (PRESENT)
That was the beginning
of me taking control
1162
01:07:06,917 --> 01:07:08,166
of my performance.
1163
01:07:08,250 --> 01:07:09,667
TINA: (SINGING)
♪ Kill his wife ♪
1164
01:07:09,750 --> 01:07:11,000
I was my own boss.
1165
01:07:11,083 --> 01:07:13,667
♪ I really wanna take a life ♪
1166
01:07:13,750 --> 01:07:17,333
BACKING SINGERS: ♪ He'll escape
Down into Mexico ♪
1167
01:07:17,417 --> 01:07:20,166
♪ Baby, to Mexico ♪
1168
01:07:20,250 --> 01:07:21,834
BACKING SINGERS:
♪ Sell the house ♪
1169
01:07:21,917 --> 01:07:24,625
♪ And find a nice young girl ♪
1170
01:07:24,709 --> 01:07:27,166
♪ Find a nice young girl ♪
1171
01:07:28,291 --> 01:07:31,291
♪ Just so life
Won't hurt no more ♪
1172
01:07:34,750 --> 01:07:37,625
♪ Ooh ♪
1173
01:07:37,709 --> 01:07:40,208
♪ Oh yeah, yeah, yeah,
Oh yeah, yeah, yeah ♪
1174
01:07:40,291 --> 01:07:43,250
-♪ (MUSIC CONCLUDES)
-(AUDIENCE CHEERING)
1175
01:07:43,333 --> 01:07:45,375
TINA: (ARCHIVAL) So, the minute
we changed the show,
1176
01:07:45,458 --> 01:07:47,291
reviews were great,
everything was going well.
1177
01:07:47,375 --> 01:07:49,875
And then we started working
to try to get a record deal.
1178
01:07:49,959 --> 01:07:52,208
Nobody would touch Tina Turner.
1179
01:07:52,291 --> 01:07:56,000
DAVIES: When I first started
trying to look for a deal
1180
01:07:56,083 --> 01:07:57,625
with Tina,
1181
01:07:58,250 --> 01:07:59,458
the general feeling was,
1182
01:07:59,542 --> 01:08:00,875
"Is she still
with that guy, Ike?"
1183
01:08:00,959 --> 01:08:02,542
No one had any idea.
1184
01:08:02,625 --> 01:08:05,875
Tina needed to be exposed
as, "She's a solo artist,
1185
01:08:05,959 --> 01:08:07,625
she's not associated with Ike."
1186
01:08:08,834 --> 01:08:11,792
TINA: (PRESENT)
Roger came to me, asking me
1187
01:08:11,875 --> 01:08:15,291
if I would be willing
to give the story to the press,
1188
01:08:15,834 --> 01:08:19,291
and I was afraid to...
1189
01:08:19,375 --> 01:08:24,000
put it out because of
what I might receive from Ike.
1190
01:08:26,333 --> 01:08:28,667
TINA: (ARCHIVAL)
1191
01:08:33,166 --> 01:08:35,208
ARRINGTON: (PRESENT)
I didn't really know too much
1192
01:08:35,291 --> 01:08:37,000
about the backstory,
1193
01:08:37,083 --> 01:08:39,709
and nobody knew
about the traumas
1194
01:08:39,792 --> 01:08:41,000
that she went through.
1195
01:08:41,083 --> 01:08:44,417
You know, I just was looking
for a simple comeback story.
1196
01:08:44,500 --> 01:08:46,000
Little did I know, you know,
1197
01:08:46,083 --> 01:08:49,500
there was this whole legend,
uh, that came about.
1198
01:08:52,959 --> 01:08:55,208
TINA: (PRESENT)
I didn't know what to expect.
1199
01:08:57,333 --> 01:09:00,125
I wanted to stop people
from thinking
1200
01:09:00,208 --> 01:09:01,875
that Ike and Tina
was so positive.
1201
01:09:01,959 --> 01:09:03,750
I mean, he was-- it was--
1202
01:09:03,834 --> 01:09:07,125
that we were such a love team,
or a great team,
1203
01:09:07,208 --> 01:09:09,000
and it wasn't like that.
1204
01:09:09,083 --> 01:09:13,709
So I thought, if nothing else,
at least people would know.
1205
01:09:15,000 --> 01:09:17,333
♪ (PIANO MUSIC PLAYING) ♪
1206
01:09:18,250 --> 01:09:20,083
TV ANCHOR 1:
Tina Turner is a legend,
1207
01:09:20,166 --> 01:09:21,959
a major influence on rock stars
1208
01:09:22,041 --> 01:09:24,250
like Rod Stewart
and Mick Jagger.
1209
01:09:24,333 --> 01:09:26,959
Once, she was teamed
with her husband, Ike.
1210
01:09:27,041 --> 01:09:28,166
Now she's on her own,
1211
01:09:28,250 --> 01:09:31,417
trying to establish herself
as a star once again.
1212
01:09:31,500 --> 01:09:33,709
TINA: (ARCHIVAL)
My life with Ike, it was, uh,
1213
01:09:33,792 --> 01:09:36,333
one that a lot of, maybe,
people are familiar with,
1214
01:09:36,417 --> 01:09:38,875
of husbands that is, uh,
1215
01:09:38,959 --> 01:09:41,166
that practice brutality.
(LAUGHS)
1216
01:09:41,250 --> 01:09:42,500
-INTERVIEWER 8: Yeah?
-Yeah.
1217
01:09:42,583 --> 01:09:45,834
WINFREY: Nobody talked
about sexual abuse,
1218
01:09:45,917 --> 01:09:48,875
physical abuse, domestic abuse.
1219
01:09:48,959 --> 01:09:50,291
Abuse, period.
1220
01:09:50,375 --> 01:09:54,000
Our generation
is the generation
1221
01:09:54,083 --> 01:09:58,083
that started
to break the silence.
1222
01:09:59,583 --> 01:10:03,166
INTERVIEWEE: Tina, she couldn't
voice her own opinions.
1223
01:10:03,250 --> 01:10:05,750
Everything that she did
was with Ike.
1224
01:10:05,834 --> 01:10:09,333
ARRINGTON: The idea of Tina
as a presence on her own
1225
01:10:09,417 --> 01:10:12,834
and having escaped,
people loved that story.
1226
01:10:12,917 --> 01:10:17,625
They wanted-- You know,
here was somebody to root for.
1227
01:10:17,709 --> 01:10:21,583
DAVIES: Once the word was out,
we met a guy called Carter,
1228
01:10:21,667 --> 01:10:24,750
John Carter at Capital
who believed in her.
1229
01:10:24,834 --> 01:10:27,834
JOHN CARTER: (ARCHIVAL)
I had always been
interested in artists
1230
01:10:27,917 --> 01:10:29,959
that no one else
was interested in.
1231
01:10:30,041 --> 01:10:32,542
Once a star, always a threat,
1232
01:10:32,625 --> 01:10:34,375
and that's the way I felt
about Tina.
1233
01:10:34,458 --> 01:10:36,333
So you play that thing,
you're playing that,
1234
01:10:36,417 --> 01:10:37,875
and you're playing
the strum under me,
1235
01:10:37,959 --> 01:10:39,500
and we move down stage
with that.
1236
01:10:39,583 --> 01:10:41,417
Let's just get that right.
That's exactly...
1237
01:10:41,500 --> 01:10:45,917
DAVIES: Carter basically gave us
a development deal.
1238
01:10:46,000 --> 01:10:48,291
We tried probably eight
or ten tracks,
1239
01:10:48,375 --> 01:10:51,875
still trying to find our way.
We never got quite there.
1240
01:10:51,959 --> 01:10:53,542
Stay under me there,
but just come down.
1241
01:10:53,625 --> 01:10:55,542
Keep the pulse under me.
Don't lose the--
1242
01:10:55,625 --> 01:10:56,959
CARTER: We record a few things,
1243
01:10:57,041 --> 01:11:00,125
and as much as Roger
and I would get enthusiastic
1244
01:11:00,208 --> 01:11:02,041
about a song here
and a song there,
1245
01:11:02,125 --> 01:11:05,583
it was never really
the body of work that we needed.
1246
01:11:05,667 --> 01:11:07,709
(INDISTINCT CHATTER)
1247
01:11:07,792 --> 01:11:09,208
And then one day,
1248
01:11:09,291 --> 01:11:12,041
Carter rang me up,
beside himself,
1249
01:11:12,125 --> 01:11:14,500
because there'd been
a change of management
1250
01:11:14,583 --> 01:11:16,250
at Capital Records.
1251
01:11:16,333 --> 01:11:17,750
And they'd been in a meeting,
1252
01:11:17,834 --> 01:11:20,208
and they'd been going through
the roster of artists, I guess,
1253
01:11:20,291 --> 01:11:25,417
and the new management
didn't want Tina on the label.
1254
01:11:25,500 --> 01:11:27,291
CARTER:
The new regime comes in...
1255
01:11:27,375 --> 01:11:30,250
-INTERVIEWER 9: Mm-hmm.
-...and like any new regime,
1256
01:11:30,333 --> 01:11:32,542
they've got their own idea
about what they wanna do.
1257
01:11:32,625 --> 01:11:35,583
-INTERVIEWER 9: Right.
-CARTER: So I flip out,
1258
01:11:35,667 --> 01:11:40,458
I go downstairs, and I said,
"Hey, this is my act."
1259
01:11:40,542 --> 01:11:42,875
And the classic quote is,
1260
01:11:42,959 --> 01:11:46,166
"Carter, you signed
this old nigger douchebag?"
1261
01:11:46,250 --> 01:11:47,625
INTERVIEWER 9: Whoa. Whoa.
1262
01:11:47,709 --> 01:11:50,792
CARTER: "Yeah, yeah, I did,
and I'm really happy about it.
1263
01:11:50,875 --> 01:11:52,625
Now pick up the phone
and call Roger Davies."
1264
01:11:52,709 --> 01:11:55,083
-INTERVIEWER 9: Wow.
-CARTER: He said,
"No fucking way."
1265
01:11:55,166 --> 01:11:57,750
And I get on my knees,
and I said,
1266
01:11:57,834 --> 01:12:00,792
"I'm now gonna beg you,
and I'm not gonna get up
1267
01:12:00,875 --> 01:12:03,250
until you pick up the phone."
1268
01:12:03,333 --> 01:12:07,458
(LAUGHS)
And there was a long stare down,
1269
01:12:07,542 --> 01:12:10,000
-and he picks up the phone.
-INTERVIEWER 9: Wow.
1270
01:12:10,083 --> 01:12:13,166
CARTER: Well, he says, "Okay,
she's back on the roster."
1271
01:12:13,250 --> 01:12:14,959
-INTERVIEWER 9: Mm-hmm.
-"You finish your record,
1272
01:12:15,041 --> 01:12:16,125
but you understand
1273
01:12:16,208 --> 01:12:19,583
that we're gonna do nothing.
That's all there is."
1274
01:12:26,917 --> 01:12:29,208
TINA: (ARCHIVAL)
1275
01:12:44,208 --> 01:12:45,709
(LAUGHS)
1276
01:12:47,000 --> 01:12:50,417
♪ (SOMBER MUSIC PLAYING) ♪
1277
01:12:51,917 --> 01:12:53,750
TINA: (PRESENT)
I was held back...
1278
01:12:54,792 --> 01:12:56,542
for a very long time.
1279
01:12:57,625 --> 01:12:59,458
But I didn't suffer
from those things,
1280
01:12:59,542 --> 01:13:01,542
and it's not necessary
to suffer about that
1281
01:13:01,625 --> 01:13:04,667
because what can you do
about it? You know?
1282
01:13:05,625 --> 01:13:07,458
So I didn't think
about those things.
1283
01:13:10,041 --> 01:13:12,250
DAVIES: She always had a belief
it was gonna be okay.
1284
01:13:12,333 --> 01:13:16,125
And I think you had to have
that belief to get-- keep going.
1285
01:13:21,417 --> 01:13:24,625
Radio, as you know in America,
was very categorized.
1286
01:13:24,709 --> 01:13:26,542
And there's pop,
and there's R&B, there's urban,
1287
01:13:26,625 --> 01:13:30,166
then there's hot AC,
and she wanted to sing rock.
1288
01:13:30,250 --> 01:13:34,583
And that wasn't really what
they thought would work.
1289
01:13:34,667 --> 01:13:36,834
And that's when we knew
that it had to be England,
1290
01:13:36,917 --> 01:13:39,208
'cause England
and Europe got her.
1291
01:13:39,291 --> 01:13:42,166
-♪ (UPLIFTING MUSIC PLAYING) ♪
-(PLANE ENGINE REVVING)
1292
01:13:48,750 --> 01:13:54,291
TINA: (PRESENT) It was London,
it was another whole experience
1293
01:13:54,834 --> 01:13:56,417
from America.
1294
01:13:56,500 --> 01:13:58,417
You know, it felt like home.
1295
01:13:58,500 --> 01:14:00,959
It felt so comfortable
1296
01:14:01,041 --> 01:14:03,041
that I could've been there
all my life.
1297
01:14:06,208 --> 01:14:09,250
Well I didn't have
that many friends in America
1298
01:14:09,333 --> 01:14:12,000
because, of course, Ike,
1299
01:14:12,083 --> 01:14:14,333
and then when I left Ike,
1300
01:14:15,041 --> 01:14:18,041
immediately, I went to work.
1301
01:14:20,500 --> 01:14:22,875
My sons were at home,
they were fine.
1302
01:14:24,291 --> 01:14:26,542
My oldest was 28, um...
1303
01:14:26,625 --> 01:14:29,166
my youngest is moving
well into his middle twenties,
1304
01:14:29,250 --> 01:14:31,709
so not really kids anymore.
1305
01:14:31,792 --> 01:14:34,083
I left everything
and everybody behind.
1306
01:14:34,166 --> 01:14:36,375
I needed every minute
of my brain
1307
01:14:37,041 --> 01:14:39,500
to map my life together.
1308
01:14:39,583 --> 01:14:41,041
(SPEAKING INDISTINCTLY)
1309
01:14:41,125 --> 01:14:43,750
HALL: It's almost like
she had a coming of age
1310
01:14:43,834 --> 01:14:45,166
at 40 years old.
1311
01:14:45,250 --> 01:14:47,417
The fact that
she has this voice,
1312
01:14:47,500 --> 01:14:50,333
this incredible,
incredible voice,
1313
01:14:50,417 --> 01:14:53,750
I would say the industry
didn't even really know
what to do with.
1314
01:14:55,000 --> 01:14:57,291
LODER: Roger could see
what could be done
1315
01:14:57,375 --> 01:14:59,291
when other people
couldn't imagine
1316
01:14:59,375 --> 01:15:00,667
what it could become.
1317
01:15:00,750 --> 01:15:03,458
Said, "There's this new kind of
production technique in England,
1318
01:15:03,542 --> 01:15:05,125
and there are these new people,
1319
01:15:05,208 --> 01:15:06,792
they're getting new sounds,
1320
01:15:06,875 --> 01:15:08,750
and you should be part of that."
1321
01:15:10,667 --> 01:15:13,083
DAVIES: I was collecting songs.
I used to carry around
1322
01:15:13,166 --> 01:15:15,333
this leather bag
full of cassettes
1323
01:15:15,417 --> 01:15:18,041
and asking a bunch of people
and, you know,
1324
01:15:18,125 --> 01:15:20,500
Terry Britten,
he was a bit of a hero of mine,
1325
01:15:20,583 --> 01:15:23,834
and he had songs
I think might work for Tina.
1326
01:15:23,917 --> 01:15:26,834
-(INDISTINCT CHATTER)
-Roger's tea.
1327
01:15:26,917 --> 01:15:29,667
♪ ("WHAT'S LOVE
GOT TO DO WITH IT"
BY BUCKS FIZZ PLAYING) ♪
1328
01:15:29,750 --> 01:15:32,458
"What's Love" is probably
the worst demo ever done
1329
01:15:32,542 --> 01:15:35,667
to this date. I mean,
there's no-- there's no, uh--
1330
01:15:35,750 --> 01:15:36,959
(HUMS)
♪ Be-do-be-do ♪
1331
01:15:37,041 --> 01:15:40,417
Just none of that stuff.
Very white, very pop.
1332
01:15:41,041 --> 01:15:43,333
And nothing remotely
1333
01:15:43,417 --> 01:15:45,000
would say Tina Turner.
1334
01:15:45,083 --> 01:15:46,291
♪ Only logical... ♪
1335
01:15:46,375 --> 01:15:48,417
TERRY BRITTEN: Originally,
it did go to an English band
1336
01:15:48,500 --> 01:15:50,291
called, um, Bucks Fizz.
1337
01:15:50,375 --> 01:15:52,083
They were really popular
at the time
1338
01:15:52,166 --> 01:15:55,000
and, uh, I think they actually
recorded it.
1339
01:15:55,083 --> 01:15:58,083
♪ Whoa-oh-oh
What's love got to do ♪
1340
01:15:58,166 --> 01:16:00,500
♪ Got to do with it? ♪
1341
01:16:00,583 --> 01:16:04,667
♪ What's love
But a secondhand emotion? ♪
1342
01:16:04,750 --> 01:16:06,625
-♪ (MUSIC STOPS ABRUPTLY) ♪
-I was convinced.
1343
01:16:06,709 --> 01:16:08,125
I thought "What's Love" was...
1344
01:16:09,083 --> 01:16:10,667
it could be a big song.
1345
01:16:11,375 --> 01:16:13,667
Tina never really liked it.
1346
01:16:13,750 --> 01:16:17,750
(SCOFFS) It was terrible.
It was awful. It was...
1347
01:16:17,834 --> 01:16:21,834
I was rock and roll,
I was not--
1348
01:16:21,917 --> 01:16:24,417
That was a--
that was a pop song.
1349
01:16:24,500 --> 01:16:26,542
So Roger says, "All right,
all right, all right.
1350
01:16:26,625 --> 01:16:28,250
Just one thing,
you've gotta meet Terry Britten,
1351
01:16:28,333 --> 01:16:29,834
you've gotta meet him
'cause he's a great writer,
1352
01:16:29,917 --> 01:16:31,750
and maybe he can make some
adjustments or whatever."
1353
01:16:31,834 --> 01:16:32,959
And I went, "All right."
1354
01:16:33,041 --> 01:16:34,917
♪ (MUSIC PLAYING) ♪
1355
01:16:35,000 --> 01:16:38,125
We walked in, and I didn't know
what to expect at first,
1356
01:16:38,208 --> 01:16:40,083
and Terry was like
a little leprechaun.
1357
01:16:40,166 --> 01:16:41,417
I mean, he's very short.
1358
01:16:41,500 --> 01:16:43,750
He was sitting there, and his
legs were hanging. (LAUGHS)
1359
01:16:43,834 --> 01:16:47,542
There's just something about his
legs hanging that I remember.
1360
01:16:47,625 --> 01:16:49,583
She came in,
and immediately, she said,
1361
01:16:49,667 --> 01:16:51,417
"Well, you know
I don't like that song,
1362
01:16:51,500 --> 01:16:52,667
and I don't wanna do that song,
1363
01:16:52,750 --> 01:16:55,000
and it's Roger-- Roger
that wants me to do it."
1364
01:16:55,083 --> 01:16:57,417
Well, I said, "Well, you know,
if it doesn't work out,
1365
01:16:57,500 --> 01:16:59,625
you won't use it,
so let's give it a go."
1366
01:16:59,709 --> 01:17:03,417
-(INDISTINCT CHATTER)
-♪ (QUIET MUSIC PLAYING) ♪
1367
01:17:03,500 --> 01:17:05,667
TINA: I had to find a way
to sing the song,
1368
01:17:05,750 --> 01:17:08,417
so he would say,
uh, "Tina, sing this
1369
01:17:08,500 --> 01:17:09,625
how you would sing it."
1370
01:17:09,709 --> 01:17:14,041
So, okay. Then I applied
my heavy voice to it and--
1371
01:17:14,125 --> 01:17:16,458
(SINGING) ♪ Your hand
Makes my pulse react... ♪
1372
01:17:16,542 --> 01:17:18,417
BRITTEN: She was trying
to get her head round it.
1373
01:17:18,500 --> 01:17:20,458
"How's this little...
(IMITATES DRUMBEAT)
1374
01:17:20,542 --> 01:17:23,500
...work?" Sort of thing,
and, uh, I said to her,
1375
01:17:23,583 --> 01:17:25,792
"Tina, this is a jog."
1376
01:17:25,875 --> 01:17:28,792
And we both stood and jogged.
1377
01:17:28,875 --> 01:17:30,333
I said-- and--
1378
01:17:30,417 --> 01:17:32,542
she was singing loud,
and I went, "Quieter, quieter."
1379
01:17:32,625 --> 01:17:35,166
She said, "If I go any quieter,
I'll be whispering."
1380
01:17:35,250 --> 01:17:38,834
I said, "Yeah, that's it." And
we start to jog on this thing,
1381
01:17:38,917 --> 01:17:42,083
and suddenly she went,
"I got it, I got it, I got it."
1382
01:17:42,166 --> 01:17:45,834
(SINGING) ♪ Oh, oh, oh,
What's love got to do ♪
1383
01:17:45,917 --> 01:17:48,125
♪ Got to do with it? ♪
1384
01:17:48,208 --> 01:17:53,166
♪ What's love
But a secondhand emotion? ♪
1385
01:17:53,250 --> 01:17:57,417
♪ What's love got to do
Got to do with it? ♪
1386
01:17:57,500 --> 01:18:02,166
♪ Who needs a heart
When a heart can be broken? ♪
1387
01:18:02,250 --> 01:18:04,625
BRITTEN: I was stunned
afterwards, after the session.
1388
01:18:04,709 --> 01:18:06,417
TINA:
♪ That I'm acting confused... ♪
1389
01:18:06,500 --> 01:18:08,417
They weren't used to
a strong voice
1390
01:18:08,500 --> 01:18:10,125
standing on top of music.
1391
01:18:10,208 --> 01:18:12,500
But I converted it
and made it my own.
1392
01:18:12,583 --> 01:18:16,583
♪ I tend to look dazed
I read it someplace ♪
1393
01:18:16,667 --> 01:18:19,166
♪ I've got cause to be ♪
1394
01:18:19,250 --> 01:18:21,834
♪ There's a name for it... ♪
1395
01:18:21,917 --> 01:18:23,083
BRITTEN: She said,
"You know what?
1396
01:18:23,166 --> 01:18:25,208
People are gonna say
this is a Tina Turner song.
1397
01:18:25,291 --> 01:18:27,291
It's not Tina doing a cover.
1398
01:18:28,333 --> 01:18:29,917
This is Tina Turner's song."
1399
01:18:30,000 --> 01:18:31,709
♪ Whatever the reason ♪
1400
01:18:31,792 --> 01:18:34,875
♪ You do it for me
Oh, oh, oh ♪
1401
01:18:34,959 --> 01:18:38,208
♪ What's love got to do
Got to do with it? ♪
1402
01:18:38,291 --> 01:18:41,458
TINA: (PRESENT)
I knocked that album out
in two weeks in the studio.
1403
01:18:41,542 --> 01:18:43,834
Done. Finished.
1404
01:18:43,917 --> 01:18:46,291
DAVIES: We just went
from studio to studio,
1405
01:18:46,375 --> 01:18:48,333
and, literally,
two or three weeks,
1406
01:18:48,417 --> 01:18:49,583
the album was done.
1407
01:18:49,667 --> 01:18:52,041
We turned up with an album
that sold 20 million copies.
1408
01:18:52,125 --> 01:18:53,583
TINA:
♪ Can be broken... ♪
1409
01:18:53,667 --> 01:18:56,583
DAVIES: When the album was out
and we were in New York
1410
01:18:56,667 --> 01:18:59,000
at Tower Records
doing a record signing,
1411
01:18:59,083 --> 01:19:02,875
and I got the call
from our record company
1412
01:19:02,959 --> 01:19:05,917
that it had gone--
"What's Love" had gone
to number one on Billboard.
1413
01:19:06,000 --> 01:19:07,208
INTERVIEWER 10:
In Tower Records?
1414
01:19:07,291 --> 01:19:08,834
TINA:
This was in Tower Records.
1415
01:19:08,917 --> 01:19:10,583
And I just jumped up
and I said to everybody,
"It's number one!"
1416
01:19:10,667 --> 01:19:12,458
And they all started cheering.
It was wonderful.
1417
01:19:12,542 --> 01:19:14,792
INTERVIEWER 10: You know,
when you said that,
I honestly have to tell you,
1418
01:19:14,875 --> 01:19:16,750
I know it's gonna sound
real corny, but I mean it,
1419
01:19:16,834 --> 01:19:18,250
when I saw you
say that last night,
1420
01:19:18,333 --> 01:19:21,917
that this went number one today,
I just, like, burst into tears
1421
01:19:22,000 --> 01:19:25,709
because, to me, it was like
there is some justice after all.
1422
01:19:25,792 --> 01:19:27,291
I don't know if you feel
that way about it,
1423
01:19:27,375 --> 01:19:30,291
but it was very moving.
(SIGHS) Number one.
1424
01:19:30,875 --> 01:19:32,166
♪ Oh, oh, oh ♪
1425
01:19:32,250 --> 01:19:37,208
♪ What's love got to do
Got to do with it? ♪
1426
01:19:37,291 --> 01:19:41,750
♪ What's love
But a secondhand emotion? ♪
1427
01:19:41,834 --> 01:19:46,083
♪ What's love got to do
Got to do with it? ♪
1428
01:19:46,166 --> 01:19:50,750
♪ Who needs a heart
When a heart can be broken? ♪
1429
01:19:50,834 --> 01:19:53,375
♪ What's love got to do
Got to do... ♪
1430
01:19:53,458 --> 01:19:55,667
DIANA ROSS: And the record
of the year is
1431
01:19:55,750 --> 01:19:58,250
"What's Love Got to Do with It,"
Tina Turner.
1432
01:19:58,333 --> 01:20:00,041
(CHEERING AND APPLAUSE)
1433
01:20:10,458 --> 01:20:13,291
My goodness. This has been
a wonderful evening.
1434
01:20:13,375 --> 01:20:16,375
I'd like to take this award
1435
01:20:16,458 --> 01:20:19,959
and give it to someone
that's been wonderful to me
1436
01:20:20,041 --> 01:20:22,750
as a friend, and in business,
1437
01:20:22,834 --> 01:20:26,250
and in many ways, my manager,
Roger Davies.
1438
01:20:26,333 --> 01:20:28,083
It's been a wonderful year.
1439
01:20:28,875 --> 01:20:32,583
(CHEERING AND APPLAUSE)
1440
01:20:32,667 --> 01:20:34,417
TINA: (PRESENT)
My Private Dancer album,
1441
01:20:34,500 --> 01:20:36,625
no, I don't consider it
a comeback album.
1442
01:20:36,709 --> 01:20:38,625
Tina had never arrived.
1443
01:20:38,709 --> 01:20:41,333
It was Tina's debut
for the first time,
1444
01:20:41,417 --> 01:20:43,458
and this was my first album.
1445
01:20:44,125 --> 01:20:46,041
ANNOUNCER 3: Tina Turner!
1446
01:20:47,041 --> 01:20:49,000
ANNOUNCER 4: Tina Turner!
1447
01:20:49,083 --> 01:20:51,458
(CHEERING)
1448
01:20:51,542 --> 01:20:53,375
♪ (INSPIRING MUSIC PLAYING) ♪
1449
01:20:53,458 --> 01:20:55,333
DAVIES:
It reached a stage where,
1450
01:20:55,417 --> 01:20:58,250
after Private Dancer,
it was unbelievably big.
1451
01:20:59,417 --> 01:21:01,875
It was a runaway train.
1452
01:21:01,959 --> 01:21:03,834
ANNOUNCER 5:
When you're hot, you're hot,
1453
01:21:03,917 --> 01:21:05,792
and this lady is the hottest.
1454
01:21:05,875 --> 01:21:07,959
-Here's...
-Tina Turner!
1455
01:21:08,041 --> 01:21:09,750
(CHEERING)
1456
01:21:09,834 --> 01:21:11,333
FAN 1: I had my boyfriend
standing in line
1457
01:21:11,417 --> 01:21:12,959
since 3:00 in the morning
to get these tickets.
1458
01:21:13,041 --> 01:21:14,750
I said, "That's it,
the relationship's over
1459
01:21:14,834 --> 01:21:16,083
unless you get me
these tickets."
1460
01:21:16,166 --> 01:21:18,166
And if she isn't sexy,
I don't know who is.
1461
01:21:18,250 --> 01:21:20,208
FAN 2:
Give our honors to Tina Turner.
1462
01:21:20,291 --> 01:21:21,583
Stupenda, stupenda.
1463
01:21:21,667 --> 01:21:25,166
(SPEAKING ITALIAN)
1464
01:21:25,250 --> 01:21:29,041
(ANNOUNCER 6 SPEAKING GERMAN)
...Tina Turner.
1465
01:21:29,125 --> 01:21:31,542
DAVIES: Um, Private Dancer,
I think we ended up doing
1466
01:21:31,625 --> 01:21:33,333
a hundred and fifty concerts.
1467
01:21:35,250 --> 01:21:37,500
And then we went on
to break every rule.
1468
01:21:39,500 --> 01:21:43,125
On that album,
we did the biggest tour
we've ever done.
1469
01:21:43,208 --> 01:21:46,041
We played 230 shows
in 18 months,
1470
01:21:46,125 --> 01:21:47,333
everywhere in the world.
1471
01:21:48,709 --> 01:21:50,959
(CROWD CHEERING)
1472
01:21:51,041 --> 01:21:55,542
This 50-year-old woman playing
at stadiums throughout Europe
1473
01:21:55,625 --> 01:21:58,834
and having an audience
ranging from about 15 to 60
1474
01:21:58,917 --> 01:22:00,667
was pretty amazing.
1475
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
1476
01:22:03,542 --> 01:22:06,750
-I'm 20 years younger.
-FAN 3: I can't wait
for them to come back.
1477
01:22:06,834 --> 01:22:09,834
TINA: (ARCHIVAL)
When I'm on stage,
and it's like 20,000 people,
1478
01:22:09,917 --> 01:22:11,709
then you know that
it's all worthwhile, you know.
1479
01:22:11,792 --> 01:22:14,166
But it's really a lot
that goes on behind the scenes
1480
01:22:14,250 --> 01:22:15,667
when you-- I've never been
this big before,
1481
01:22:15,750 --> 01:22:18,834
you know what I mean? And you--
Uh, it's just incredible.
1482
01:22:19,834 --> 01:22:21,417
DAVIES: We didn't stop.
1483
01:22:21,500 --> 01:22:24,291
We played the small halls,
we played the clubs,
1484
01:22:24,375 --> 01:22:26,417
we did all the TVs,
we got to arenas.
1485
01:22:26,500 --> 01:22:28,500
We eventually fulfilled
her dream
1486
01:22:28,583 --> 01:22:30,917
and filled the stadiums.
1487
01:22:31,000 --> 01:22:35,333
That concert in Rio
was 186,000 people there.
1488
01:22:36,834 --> 01:22:40,583
AUDIENCE: (SHOUTS) Tina! Tina!
1489
01:22:40,667 --> 01:22:42,250
Hello, Rio!
1490
01:22:42,333 --> 01:22:44,709
(CHEERING)
1491
01:22:44,792 --> 01:22:47,625
Give it to me. Hello, Rio!
1492
01:22:47,709 --> 01:22:50,125
(CHEERING AND APPLAUSE)
1493
01:22:50,208 --> 01:22:53,458
(KISSING LIPS)
1494
01:22:53,542 --> 01:22:55,458
TINA: You can't imagine
what it was like for me
1495
01:22:55,542 --> 01:22:57,458
to finally to stand there
and draw all those people.
1496
01:22:57,542 --> 01:22:59,583
It's a feeling of, like,
"I did it,"
1497
01:22:59,667 --> 01:23:01,166
and it's really genuine.
1498
01:23:01,250 --> 01:23:04,125
It's-- it is almost like magic,
because you're standing there,
1499
01:23:04,208 --> 01:23:07,083
and they're really
giving you love.
1500
01:23:07,166 --> 01:23:08,500
TINA: Are you ready?
1501
01:23:08,583 --> 01:23:09,750
(AUDIENCE SCREAMS)
1502
01:23:09,834 --> 01:23:12,333
TINA: Are you ready for me?
1503
01:23:12,417 --> 01:23:14,750
I'm ready for you.
Hello.
1504
01:23:14,834 --> 01:23:18,375
♪ ("I CAN'T STAND THE RAIN"
BY TINA TURNER PLAYING) ♪
1505
01:23:35,750 --> 01:23:39,917
(SINGING)
♪ I can't stand the rain ♪
1506
01:23:40,000 --> 01:23:42,083
♪ Against my window ♪
1507
01:23:44,375 --> 01:23:47,166
♪ Bringing back sweet memories ♪
1508
01:23:47,250 --> 01:23:50,041
♪ I can't stand the rain ♪
1509
01:23:50,125 --> 01:23:52,166
♪ Do you remember? ♪
1510
01:23:52,250 --> 01:23:54,125
♪ Uh-uh ♪
1511
01:23:54,208 --> 01:23:56,417
♪ How sweet it used to be ♪
1512
01:24:00,000 --> 01:24:02,583
♪ When we were together ♪
1513
01:24:05,083 --> 01:24:08,125
♪ Everything was so grand ♪
1514
01:24:10,625 --> 01:24:13,125
♪ Now that we've parted ♪
1515
01:24:14,417 --> 01:24:16,792
-♪ There's the one sound ♪
-♪ One sound ♪
1516
01:24:16,875 --> 01:24:18,792
♪ I just can't stand ♪
1517
01:24:18,875 --> 01:24:20,792
♪ I can't stand the rain ♪
1518
01:24:21,959 --> 01:24:23,500
♪ Against my window ♪
1519
01:24:26,250 --> 01:24:28,959
♪ Bringing back sweet memories ♪
1520
01:24:29,041 --> 01:24:31,834
♪ I can't stand the rain ♪
1521
01:24:32,500 --> 01:24:34,667
♪ Against my window ♪
1522
01:24:36,625 --> 01:24:39,125
♪ 'Cause he ain't here with me ♪
1523
01:24:39,959 --> 01:24:41,125
♪ Oh, oh ♪
1524
01:24:42,458 --> 01:24:45,291
♪ When we were together ♪
1525
01:24:47,417 --> 01:24:50,834
♪ Everything was so grand ♪
1526
01:24:52,709 --> 01:24:56,875
♪ Ah, bringing back some
Sweet memories ♪
1527
01:24:56,959 --> 01:24:59,000
-♪ One sound ♪
-BACKING SINGERS: ♪ One sound ♪
1528
01:24:59,083 --> 01:25:01,458
♪ I just can't stand ♪
1529
01:25:01,542 --> 01:25:03,667
-♪ Rain ♪
-♪ Rain ♪
1530
01:25:04,125 --> 01:25:05,375
♪ Rain ♪
1531
01:25:06,667 --> 01:25:08,542
-♪ Rain ♪
-♪ Rain ♪
1532
01:25:09,333 --> 01:25:11,709
♪ Rain, whoo! ♪
1533
01:25:11,792 --> 01:25:14,291
-♪ Yeah ♪
-♪ (SONG CONCLUDES) ♪
1534
01:25:14,375 --> 01:25:16,875
(CHEERING AND APPLAUSE)
1535
01:25:18,333 --> 01:25:19,959
TINA: Thank you.
1536
01:25:25,500 --> 01:25:27,250
(APPLAUSE FADES)
1537
01:25:27,333 --> 01:25:29,792
(ENGINE REVVING)
1538
01:25:46,542 --> 01:25:48,333
(REVVING STOPS ABRUPTLY)
1539
01:25:51,583 --> 01:25:55,583
LODER: In 1985, she signed on
to do the third Mad Max movie,
1540
01:25:55,667 --> 01:25:56,959
Beyond Thunderdome.
1541
01:25:57,041 --> 01:25:58,709
Rolling Stones sent me
to cover this.
1542
01:25:58,792 --> 01:26:00,417
Great, I would love
to cover this.
1543
01:26:01,417 --> 01:26:03,959
She was the biggest pop star
in the world.
1544
01:26:04,041 --> 01:26:06,417
I mean, it was already clear
that there were gonna be people
1545
01:26:06,500 --> 01:26:08,291
doing these quickie bios
of Tina Turner,
1546
01:26:08,375 --> 01:26:10,333
which I thought was really
tacky, so I get over there
1547
01:26:10,417 --> 01:26:12,208
and I talk to Roger,
and I said, "You know,
1548
01:26:12,291 --> 01:26:15,500
maybe you should have someone
do a book.
1549
01:26:15,583 --> 01:26:17,291
You know,
do an actual biography.
1550
01:26:17,375 --> 01:26:19,458
And... could be me.
1551
01:26:19,542 --> 01:26:20,834
I mean,
could be anybody, you know.
1552
01:26:20,917 --> 01:26:22,917
-I don't want to be pushy."
-PRODUCER: You pitched to them?
1553
01:26:23,000 --> 01:26:25,583
Oh, yeah. Well,
I brought up the possibility
1554
01:26:25,667 --> 01:26:27,625
of doing something
to forestall
1555
01:26:27,709 --> 01:26:29,750
all these bad books
that would be coming out.
1556
01:26:30,583 --> 01:26:33,166
DAVIES:
When she became successful,
1557
01:26:33,250 --> 01:26:35,834
the past came up,
and it got a lot of press
1558
01:26:35,917 --> 01:26:38,333
'cause she was also
hugely popular.
1559
01:26:38,417 --> 01:26:40,917
People continued
to ask about Ike,
1560
01:26:41,000 --> 01:26:43,709
even after she had had
huge solo success.
1561
01:26:43,792 --> 01:26:45,542
They'd bring up
the same old stuff,
1562
01:26:45,625 --> 01:26:47,333
over and over,
in every interview.
1563
01:26:47,417 --> 01:26:48,667
We couldn't stop it.
1564
01:26:48,750 --> 01:26:52,750
Ike was, uh, arrested on some
cocaine charges in Pasadena.
1565
01:26:52,834 --> 01:26:54,458
-Oh.
-INTERVIEWER 11:
Yeah, for possession
1566
01:26:54,542 --> 01:26:58,083
and-- and conspiracy,
possibly for dealing.
1567
01:26:58,667 --> 01:27:00,709
Any reaction to that?
1568
01:27:00,792 --> 01:27:03,917
I, you know, I'd like to hear
all positive things.
1569
01:27:04,000 --> 01:27:06,083
I'd love to hear
that Ike had a record deal,
1570
01:27:06,166 --> 01:27:08,917
-and he was producing
an album on himself.
-INTERVIEWER 11: Yeah.
1571
01:27:09,834 --> 01:27:12,000
TINA: (ARCHIVAL)
1572
01:27:13,083 --> 01:27:14,250
ARRINGTON: Right.
1573
01:27:14,333 --> 01:27:17,291
TINA:
1574
01:27:23,625 --> 01:27:26,125
-ARRINGTON: Mm-hmm.
-TINA:
1575
01:27:28,792 --> 01:27:33,166
-ARRINGTON: Yeah.
-TINA:
1576
01:27:33,250 --> 01:27:35,667
I think that she said
at the time that, "I can do this
1577
01:27:35,750 --> 01:27:37,083
and not talk about it again.
1578
01:27:37,166 --> 01:27:38,333
Everybody's talking about it.
1579
01:27:38,417 --> 01:27:40,250
Everybody has this idea
about it, thinks this or that.
1580
01:27:40,333 --> 01:27:42,417
So, I know what happened.
I'll say what happened.
1581
01:27:42,500 --> 01:27:44,500
Then I won't have
to address it again."
1582
01:27:44,583 --> 01:27:45,583
(INDISTINCT CLAMOR)
1583
01:27:45,667 --> 01:27:48,083
REPORTER: A long line of fans
waited outside
1584
01:27:48,166 --> 01:27:50,375
a Barnes and Noble bookstore
for Tina.
1585
01:27:50,458 --> 01:27:52,959
The soulful singer is now
also an author,
1586
01:27:53,041 --> 01:27:54,750
and she was in town,
anxious and willing
1587
01:27:54,834 --> 01:27:56,917
to autograph
a few hundred copies.
1588
01:27:57,000 --> 01:27:58,667
FAN 5:
It was worth getting sweaty,
1589
01:27:58,750 --> 01:28:00,000
going up there, pushing people,
1590
01:28:00,083 --> 01:28:02,542
getting them out the way,
seeing Tina Turner. I love her.
1591
01:28:02,625 --> 01:28:04,125
"What's Love Got to Do with It"?
1592
01:28:04,208 --> 01:28:05,667
TV ANCHOR 2:
Tina's book, by the way,
1593
01:28:05,750 --> 01:28:08,417
tracing her rise and fall
and rise again,
1594
01:28:08,500 --> 01:28:10,000
is titled I, Tina.
1595
01:28:11,250 --> 01:28:14,166
LODER: It was a top ten
New York Times best seller,
1596
01:28:14,250 --> 01:28:15,750
strict because of Tina Turner.
1597
01:28:15,834 --> 01:28:17,375
I mean,
they could put an empty book out
1598
01:28:17,458 --> 01:28:20,667
with her picture on the cover,
that book would have sold.
1599
01:28:20,750 --> 01:28:24,583
She just felt
maybe it will put it to bed
1600
01:28:24,667 --> 01:28:26,083
once and for all.
1601
01:28:26,166 --> 01:28:28,625
Which, of course, it didn't.
It just made it bigger.
(CHUCKLES)
1602
01:28:28,709 --> 01:28:30,959
RADIO HOST:
Albuquerque, New Mexico, hello.
1603
01:28:31,041 --> 01:28:32,291
FAN 6: (ON PHONE)
I read your book,
1604
01:28:32,375 --> 01:28:34,792
and it's totally
changed my life.
1605
01:28:34,875 --> 01:28:36,709
I love you. I thank you.
1606
01:28:38,041 --> 01:28:40,959
HALL: That story
reached so many people
1607
01:28:41,041 --> 01:28:44,000
who felt like they had to kinda
keep their secrets
1608
01:28:44,083 --> 01:28:45,834
locked away deep down.
1609
01:28:45,917 --> 01:28:48,291
But then I wonder
that thing of, like,
1610
01:28:48,375 --> 01:28:50,583
it's like a Pandora's box
situation, right?
1611
01:28:50,667 --> 01:28:53,041
Like, "Damn, I gotta tell
this story again?"
1612
01:28:54,083 --> 01:28:57,500
♪ (INSPIRING MUSIC PLAYING) ♪
1613
01:28:57,583 --> 01:29:00,166
GRAAM: And then
the film came out,
1614
01:29:00,250 --> 01:29:04,083
and just kinda brought
more attention to her name,
1615
01:29:04,166 --> 01:29:07,166
for people to see
what happened and everything.
1616
01:29:07,250 --> 01:29:09,125
-LAURENCE FISHBURNE:
What'd you say?
-Don't start with me.
1617
01:29:09,208 --> 01:29:11,083
I ain't in the mood today,
all right?
1618
01:29:11,166 --> 01:29:13,041
It's tangible in the sense
you're watching it.
1619
01:29:13,125 --> 01:29:14,625
I'll give up
all that other stuff,
1620
01:29:14,709 --> 01:29:16,333
but only
if I get to keep my name.
1621
01:29:16,417 --> 01:29:19,250
I worked too hard for it,
Your Honor.
1622
01:29:19,333 --> 01:29:21,417
GRAAM: That just changed
everything for her.
1623
01:29:22,834 --> 01:29:25,959
BASSET:
That role changed my life.
1624
01:29:26,041 --> 01:29:30,333
I mean, I'm not Tina,
and I've got so much,
1625
01:29:30,417 --> 01:29:32,458
uh, love from others.
1626
01:29:32,542 --> 01:29:34,542
Men, women who have come up
and said,
1627
01:29:34,625 --> 01:29:39,375
"You playing her in that story
changed my life."
1628
01:29:39,458 --> 01:29:42,500
ARRINGTON: (PRESENT) The story
goes out into people's houses,
1629
01:29:42,583 --> 01:29:45,625
and then it becomes a part
of their life as well.
1630
01:29:45,709 --> 01:29:47,417
It's Tina Day!
1631
01:29:47,500 --> 01:29:49,917
(CHEERING AND APPLAUSE)
1632
01:29:52,041 --> 01:29:54,458
TINA: (ARCHIVAL) That's hard
to wrap your mind around,
1633
01:29:54,542 --> 01:29:56,834
that your life has been
an inspiration,
1634
01:29:56,917 --> 01:29:58,458
maybe the worst parts
of your life
1635
01:29:58,542 --> 01:30:00,125
has been an inspiration.
1636
01:30:00,208 --> 01:30:02,000
TV HOST: We have 50,000
letters downstairs
1637
01:30:02,083 --> 01:30:05,709
from women who have also
been through it and survived.
1638
01:30:05,792 --> 01:30:08,667
Tina did it, so can you,
let's celebrate.
1639
01:30:08,750 --> 01:30:11,500
(CHEERING AND APPLAUSE)
1640
01:30:13,166 --> 01:30:15,959
ARRINGTON: She's no longer
in control of that story.
1641
01:30:16,041 --> 01:30:17,959
That's what happens to icons.
1642
01:30:19,250 --> 01:30:22,000
Anna Mae Bullock
has her own life.
1643
01:30:22,083 --> 01:30:24,667
Tina Turner
belongs to the world.
1644
01:30:28,667 --> 01:30:30,125
(CROWD CHEERING)
1645
01:30:34,500 --> 01:30:36,667
(APPLAUSE)
1646
01:30:38,083 --> 01:30:40,542
♪ (MUSIC FADES) ♪
1647
01:30:40,625 --> 01:30:42,250
INTERVIEWER 12:
Miss Turner, welcome to Venice.
1648
01:30:42,333 --> 01:30:44,458
Can you give me your views
on the film?
1649
01:30:45,792 --> 01:30:48,375
Well, I haven't as yet
seen the film.
1650
01:30:49,875 --> 01:30:51,917
-INTERVIEWER 13:
-(CLEARS THROAT)
1651
01:30:52,000 --> 01:30:58,250
Well, I'm not so thrilled
about thinking about the past
1652
01:30:58,333 --> 01:31:02,875
and how I lived my life,
it was, uh-- made a story--
1653
01:31:02,959 --> 01:31:05,333
the story was actually written
1654
01:31:05,417 --> 01:31:08,083
so that I would no longer
have to discuss the issue.
1655
01:31:08,166 --> 01:31:11,125
I don't love that it's always
talked about, you see.
1656
01:31:11,208 --> 01:31:13,917
I made a point of--
of just putting the news out
1657
01:31:14,000 --> 01:31:15,417
to stop the thing,
1658
01:31:15,500 --> 01:31:17,125
so that I could go on
with my life.
1659
01:31:17,208 --> 01:31:20,583
And this constant reminder
is not so good.
1660
01:31:20,667 --> 01:31:22,792
You know,
I'm not so happy about it.
1661
01:31:22,875 --> 01:31:24,875
So, do I want to sit in a screen
1662
01:31:24,959 --> 01:31:27,583
and watch the violence
and all the brutality?
1663
01:31:27,667 --> 01:31:29,709
No. That's why
I haven't seen it.
1664
01:31:29,792 --> 01:31:32,000
(APPLAUSE)
1665
01:31:34,125 --> 01:31:36,125
ERWIN BACH: You know,
when you talk to journalists
1666
01:31:36,208 --> 01:31:40,458
over and over
for 20 or 30 or 40 years,
1667
01:31:40,542 --> 01:31:42,458
memories come back.
1668
01:31:42,542 --> 01:31:44,917
She has partly dreams about it,
1669
01:31:45,000 --> 01:31:47,125
uh, they're not pleasant.
1670
01:31:47,208 --> 01:31:48,709
So I think these are
these things
1671
01:31:48,792 --> 01:31:51,875
that come back to her
when she opens that book.
1672
01:31:51,959 --> 01:31:55,792
It's like when soldiers
come back from the war.
1673
01:31:55,875 --> 01:32:00,500
It's not an easy time to--
to have this in your memory,
1674
01:32:00,583 --> 01:32:04,166
and then try to forget.
I see it a little bit like that.
1675
01:32:04,250 --> 01:32:07,083
INTERVIEWER 14: Tina today
is a world superstar, um,
1676
01:32:07,166 --> 01:32:10,125
but there was a point where you
had to become the Comeback Kid.
1677
01:32:10,834 --> 01:32:12,041
How did you get the strength
1678
01:32:12,125 --> 01:32:13,959
to get out
of that situation with Ike?
1679
01:32:14,041 --> 01:32:17,000
Oh, we are going to talk
about him, aren't we?
1680
01:32:17,083 --> 01:32:19,667
(LAUGHS) Okay.
1681
01:32:19,750 --> 01:32:24,125
I need my fan now,
I just had a flush. (LAUGHS)
1682
01:32:24,208 --> 01:32:25,834
How did I get out
of that situation?
1683
01:32:25,917 --> 01:32:29,000
Let me figure out how I can
talk about that, two seconds.
1684
01:32:29,083 --> 01:32:30,875
No, no, I know how
to get out of it.
1685
01:32:30,959 --> 01:32:33,542
I'm just going to say,
um, something.
1686
01:32:33,625 --> 01:32:35,417
Give me two seconds here.
1687
01:32:35,500 --> 01:32:37,834
TINA: (PRESENT)
You don't want to think
about those times, you know.
1688
01:32:37,917 --> 01:32:40,166
You just want to--
it to just to go away.
1689
01:32:40,250 --> 01:32:41,875
But if you're gonna keep
bringing it up,
1690
01:32:41,959 --> 01:32:44,917
the brain is saying,
"Oh, you want to remember that."
1691
01:32:45,000 --> 01:32:46,875
♪ (SOMBER MUSIC PLAYING) ♪
1692
01:32:46,959 --> 01:32:49,625
That scene comes back.
1693
01:32:49,709 --> 01:32:53,667
You-- you're dreaming. It's--
The real picture is there.
1694
01:32:53,750 --> 01:32:56,458
It's-- it's like a curse.
1695
01:32:59,375 --> 01:33:01,000
INTERVIEWER 15:
You raised a son by him,
1696
01:33:01,083 --> 01:33:02,208
a son by another man,
1697
01:33:02,291 --> 01:33:04,583
and two of Ike's kids
by other women.
1698
01:33:04,667 --> 01:33:07,417
There were always other women
on the scene.
1699
01:33:07,500 --> 01:33:09,291
What was that like for you?
1700
01:33:09,375 --> 01:33:11,166
INTERVIEWER 16:
When you were married to Ike,
1701
01:33:11,250 --> 01:33:14,333
what was the absolutely
worse moment?
1702
01:33:14,417 --> 01:33:17,083
INTERVIEWER 17:
What do you think
attracts women to bad men?
1703
01:33:17,166 --> 01:33:18,917
INTERVIEWER 18:
Is there a real lowlight?
1704
01:33:19,000 --> 01:33:21,125
Something you'd love to forget?
1705
01:33:21,208 --> 01:33:23,500
INTERVIEWER 19: And of course,
the book and the movie features
1706
01:33:23,583 --> 01:33:26,083
your allegations
about his bashings.
1707
01:33:26,166 --> 01:33:27,709
Tell me about that?
1708
01:33:27,792 --> 01:33:29,250
TINA: (ARCHIVAL)
I'm-- I'm past it.
1709
01:33:29,333 --> 01:33:31,917
It's been 16 years
since I haven't been with Ike,
1710
01:33:32,000 --> 01:33:34,667
and the movie and the book
is bringing me back to the past,
1711
01:33:34,750 --> 01:33:36,750
of something
that was really awful.
1712
01:33:36,834 --> 01:33:38,917
My life is wonderful
at the moment.
1713
01:33:39,000 --> 01:33:40,417
I'm a happy person now,
1714
01:33:40,500 --> 01:33:43,291
and I don't dwell
on unhappiness.
1715
01:33:48,834 --> 01:33:51,500
TINA: (PRESENT)
The trauma is still so deep
that to go back there
1716
01:33:51,583 --> 01:33:55,000
makes you feel like
you're actually going back.
1717
01:33:56,333 --> 01:33:59,291
If you don't address the wounds
of your past,
1718
01:33:59,375 --> 01:34:01,542
you continue to bleed.
1719
01:34:05,000 --> 01:34:06,917
GRAAM: You know, she just--
she always had the feeling
1720
01:34:07,000 --> 01:34:08,500
that she wasn't loved.
1721
01:34:08,583 --> 01:34:12,166
She wasn't, you know,
she wasn't a wanted child.
1722
01:34:15,875 --> 01:34:19,250
I think with her mom,
I think that's still the--
1723
01:34:19,333 --> 01:34:22,667
the dramatization
of being left as a child,
1724
01:34:22,750 --> 01:34:24,208
that never left.
1725
01:34:26,542 --> 01:34:29,834
♪ (MUSIC FADES) ♪
1726
01:34:31,792 --> 01:34:34,875
TINA: (PRESENT)
Ma was, uh, not kind.
1727
01:34:36,709 --> 01:34:39,542
When I became a star,
of course, back then,
1728
01:34:39,625 --> 01:34:42,417
she was happy because
I bought her a house.
1729
01:34:42,500 --> 01:34:45,667
I did all kinds of things
for her. She was my mother.
1730
01:34:45,750 --> 01:34:48,208
You know, I was trying
to make her comfortable,
1731
01:34:48,291 --> 01:34:51,333
because she didn't have
a husband, she was alone.
1732
01:34:51,417 --> 01:34:53,625
But she still didn't like me.
1733
01:34:55,625 --> 01:34:57,834
Even after I became Tina,
1734
01:34:57,917 --> 01:34:59,792
Ma still was a little bit,
1735
01:34:59,875 --> 01:35:01,500
"Who did that?"
or "Who did this?"
1736
01:35:01,583 --> 01:35:02,750
And I said, "I did it, Ma."
1737
01:35:02,834 --> 01:35:05,500
You know, I was happy
to show my mother what I did.
1738
01:35:05,583 --> 01:35:08,125
I had a house,
I had gotten a car,
1739
01:35:08,208 --> 01:35:09,875
and she said,
"I don't believe it.
1740
01:35:09,959 --> 01:35:12,542
You're my daughter,
I know you didn't--"
1741
01:35:12,625 --> 01:35:14,750
Something to this affect.
1742
01:35:16,000 --> 01:35:17,959
Yeah, she... (SCOFFS)
1743
01:35:19,875 --> 01:35:21,792
She didn't want.
She didn't want me,
1744
01:35:21,875 --> 01:35:23,250
she didn't want to be around me,
1745
01:35:23,333 --> 01:35:25,625
even though she wanted
my success.
1746
01:35:25,709 --> 01:35:30,333
But I did for her
as if she loved me.
1747
01:35:34,458 --> 01:35:37,709
INTERVIEWER 20: She's had
a few kind of ups and downs
1748
01:35:37,792 --> 01:35:38,750
in her life as well.
1749
01:35:38,834 --> 01:35:41,208
It hasn't--
it hasn't been all happy.
1750
01:35:41,291 --> 01:35:44,041
-Right.
-INTERVIEWER 20: Um...
1751
01:35:44,125 --> 01:35:47,792
When-- when she's unhappy,
how-- how does she deal with it?
1752
01:35:51,333 --> 01:35:53,792
I would say she...
1753
01:35:57,166 --> 01:36:00,542
She did a great job
of dealing with it, because...
1754
01:36:01,667 --> 01:36:03,709
she would figure out the problem
1755
01:36:03,792 --> 01:36:05,667
and how to handle it.
1756
01:36:08,166 --> 01:36:10,834
INTERVIEWER 20: Would she
kind of come running home
to you crying?
1757
01:36:10,917 --> 01:36:15,208
No, no, no, no,
she figured that out on her own.
1758
01:36:15,291 --> 01:36:18,125
INTERVIEWER 20: Have you
had any particularly...
1759
01:36:18,208 --> 01:36:21,417
any particular moments
that you were really proud of?
1760
01:36:21,500 --> 01:36:24,208
(CLICKS TONGUE)
1761
01:36:24,291 --> 01:36:28,166
Well, I've been proud of her
ever since she started singing.
1762
01:36:29,166 --> 01:36:30,667
But it's like...
1763
01:36:32,000 --> 01:36:36,375
a person-- some people's
afraid to climb a ladder
1764
01:36:36,458 --> 01:36:38,417
unless someone's holding it.
1765
01:36:39,375 --> 01:36:40,792
But she's not.
1766
01:36:40,875 --> 01:36:43,166
Once she make that first step
on that ladder,
1767
01:36:43,250 --> 01:36:46,875
she keep climbing up,
up, up, up.
1768
01:36:47,500 --> 01:36:48,875
She's not afraid.
1769
01:36:49,375 --> 01:36:50,542
She'll try it.
1770
01:36:51,583 --> 01:36:54,166
She's not afraid
to try anything.
1771
01:36:59,166 --> 01:37:01,458
LODER: (ARCHIVAL) Do you think
that now, after all the--
1772
01:37:01,542 --> 01:37:04,041
I mean, you've risen to the top
of the entertainment field,
1773
01:37:04,125 --> 01:37:05,458
where you've maybe
sacrificed love for--
1774
01:37:05,542 --> 01:37:06,792
-TINA: Rising.
-LODER: This is what--
1775
01:37:06,875 --> 01:37:08,083
This is what
readers will say, now.
1776
01:37:08,166 --> 01:37:10,000
"She has no--
she has no love in her life."
1777
01:37:10,083 --> 01:37:12,458
TINA: Oh, Kurt, we're gonna
get really heavy now
1778
01:37:12,542 --> 01:37:13,750
because I'm drinking.
1779
01:37:13,834 --> 01:37:15,291
-You're gonna find out.
-LODER: Oh, good. (LAUGHS)
1780
01:37:15,375 --> 01:37:20,000
TINA: I have not received love
almost ever in my life.
1781
01:37:20,083 --> 01:37:21,500
I did not have it
with my mother,
1782
01:37:21,583 --> 01:37:23,500
and my father
from the beginning of birth.
1783
01:37:23,583 --> 01:37:24,709
And I survived.
1784
01:37:24,792 --> 01:37:27,208
Why did I get so far
without love, Kurt?
1785
01:37:27,291 --> 01:37:29,834
I've never had it.
And it-- and if I cry here,
1786
01:37:29,917 --> 01:37:31,166
it doesn't mean
that I pity myself,
1787
01:37:31,250 --> 01:37:33,625
it means that tears come
with certain memories.
1788
01:37:33,709 --> 01:37:35,125
LODER: No. Tears are not bad.
1789
01:37:35,208 --> 01:37:39,917
TINA: I have had
not one love affair
1790
01:37:40,000 --> 01:37:43,667
that was genuine
and sustained itself.
1791
01:37:43,750 --> 01:37:45,875
Not one.
1792
01:37:45,959 --> 01:37:47,583
Kurt, I've been through...
1793
01:37:47,667 --> 01:37:49,917
-(FIST THUDS)
-...fucking tons of heartbreak.
1794
01:37:50,000 --> 01:37:52,917
I have analyzed it.
I said, "What's wrong with me?"
1795
01:37:53,000 --> 01:37:55,750
I've looked in the mirror
with myself stripped of makeup
1796
01:37:55,834 --> 01:37:57,458
and without hair.
1797
01:37:57,542 --> 01:37:59,834
(VOICE BREAKS)
Why can't someone see the beauty
1798
01:37:59,917 --> 01:38:02,291
in the woman it is that I am?
1799
01:38:02,375 --> 01:38:05,041
Not a goddamn person
that found it.
1800
01:38:05,125 --> 01:38:08,667
♪ (MELANCHOLIC MUSIC PLAYING) ♪
1801
01:39:08,542 --> 01:39:10,709
(CROWD CHEERING)
1802
01:39:10,792 --> 01:39:13,875
♪ ("HELP!"
BY TINA TURNER PLAYING) ♪
1803
01:39:25,834 --> 01:39:27,959
(SINGING)
♪ When I was younger ♪
1804
01:39:28,041 --> 01:39:33,291
♪ So much younger than today ♪
1805
01:39:33,375 --> 01:39:40,542
♪ I never needed anybody's
Help in any way ♪
1806
01:39:41,750 --> 01:39:48,625
♪ Now those days are gone
I'm not so self-assured ♪
1807
01:39:48,709 --> 01:39:52,417
♪ Now I find
I've changed my mind ♪
1808
01:39:52,500 --> 01:39:56,083
♪ And opened up the doors ♪
1809
01:39:56,166 --> 01:40:01,875
♪ So help me if you can
I'm feeling down ♪
1810
01:40:03,917 --> 01:40:10,583
♪ And I do appreciate you
Being round ♪
1811
01:40:12,041 --> 01:40:17,750
♪ Help me get my feet
Back on the ground ♪
1812
01:40:19,083 --> 01:40:24,917
♪ Won't you please
Please, help me ♪
1813
01:40:29,291 --> 01:40:36,375
♪ And now my life has changed
In, oh, so many ways ♪
1814
01:40:36,458 --> 01:40:43,041
♪ My independence
Seems to vanish in the haze ♪
1815
01:40:44,208 --> 01:40:47,000
♪ And every now and then ♪
1816
01:40:47,083 --> 01:40:50,917
♪ I feel so insecure ♪
1817
01:40:51,000 --> 01:40:54,041
♪ I know that I just need you ♪
1818
01:40:54,125 --> 01:40:58,458
♪ Like I never did before ♪
1819
01:40:58,542 --> 01:41:03,750
♪ Help me if you can
I'm feeling down ♪
1820
01:41:05,834 --> 01:41:12,917
♪ And I do appreciate you
Being round ♪
1821
01:41:13,000 --> 01:41:19,417
♪ Oh, help me get my feet
Back on the ground ♪
1822
01:41:21,417 --> 01:41:27,291
♪ Won't you please
Please, help me ♪
1823
01:41:29,250 --> 01:41:35,000
♪ Won't you please
Please, help me ♪
1824
01:41:35,083 --> 01:41:37,125
♪ Oh, yeah ♪
1825
01:41:37,792 --> 01:41:44,834
♪ Won't you please... ♪
1826
01:41:46,500 --> 01:41:49,792
(CHEERING AND APPLAUSE)
1827
01:41:51,000 --> 01:41:57,375
♪ Won't you please help me ♪
1828
01:41:59,208 --> 01:42:00,917
♪ Oh ♪
1829
01:42:01,000 --> 01:42:02,500
♪ Help ♪
1830
01:42:03,166 --> 01:42:05,250
TINA: ♪ Oh, oh, oh ♪
1831
01:42:05,333 --> 01:42:06,375
♪ Help ♪
1832
01:42:07,625 --> 01:42:08,834
♪ Help ♪
1833
01:42:11,583 --> 01:42:16,375
♪ Oh ♪
1834
01:42:17,917 --> 01:42:20,250
♪ (SONG CONCLUDES) ♪
1835
01:42:26,667 --> 01:42:28,709
TINA: (ARCHIVAL) The man
that I'm looking for, actually,
1836
01:42:28,792 --> 01:42:30,792
has to be a very strong man,
1837
01:42:30,875 --> 01:42:33,333
to wear, actually, the trousers,
1838
01:42:33,417 --> 01:42:36,500
but yet not to dominate me.
1839
01:42:36,583 --> 01:42:38,333
And that's fair.
1840
01:42:44,583 --> 01:42:46,291
♪ (QUIET MUSIC PLAYING) ♪
1841
01:42:46,375 --> 01:42:49,417
-FAN 7: Tina, over here!
-(INDISTINCT CLAMOR)
1842
01:42:49,500 --> 01:42:51,500
BACH:
We met at a Cologne airport.
1843
01:42:51,583 --> 01:42:53,834
No, actually it was,
uh, Düsseldorf Airport.
1844
01:42:53,917 --> 01:42:56,333
And, uh, her manager, Roger,
1845
01:42:56,417 --> 01:43:00,083
asked me to, uh--
to pick up Tina.
1846
01:43:01,458 --> 01:43:03,917
TINA: He was younger.
He was 30 years old at the time.
1847
01:43:04,917 --> 01:43:07,417
The prettiest face.
I mean, you cannot.
1848
01:43:07,500 --> 01:43:12,333
I said, it was like saying,
"Where did he come from?"
1849
01:43:12,417 --> 01:43:14,750
He was really so good looking.
1850
01:43:14,834 --> 01:43:17,959
My heart went,
"ba-boomp, bop, bop."
1851
01:43:18,041 --> 01:43:21,333
And it means that
a soul has met.
1852
01:43:21,417 --> 01:43:23,041
And my hands were shaking.
1853
01:43:23,125 --> 01:43:27,458
So Roger said to me,
"Tina, you ride with Erwin."
1854
01:43:27,542 --> 01:43:30,834
And I-- I wanted to go, "Yay."
(LAUGHS)
1855
01:43:30,917 --> 01:43:32,667
(INDISTINCT CHATTER)
1856
01:43:32,750 --> 01:43:37,208
BACH: We enjoyed the ride.
I enjoyed driving the artist.
1857
01:43:37,291 --> 01:43:38,709
Actually a superstar for us,
1858
01:43:38,792 --> 01:43:41,041
where you're normally
a little nervous, you know.
1859
01:43:41,125 --> 01:43:43,625
But, uh,
I wasn't nervous either.
1860
01:43:43,709 --> 01:43:45,917
I was just doing the job.
1861
01:43:47,375 --> 01:43:50,375
TINA: (PRESENT) When he
found out that I liked him,
1862
01:43:50,458 --> 01:43:51,875
he came to America.
1863
01:43:51,959 --> 01:43:55,208
We were in Nashville,
I think it was,
1864
01:43:55,291 --> 01:43:57,000
and I said to him,
1865
01:43:57,083 --> 01:44:00,667
"When you come to LA,
I want you to make love to me."
1866
01:44:02,041 --> 01:44:04,917
But I thought that I could say
that 'cause I was a free woman,
1867
01:44:05,000 --> 01:44:07,959
I didn't have a boyfriend.
I liked him.
1868
01:44:08,041 --> 01:44:10,417
There was nothing wrong with it,
it was just sex.
1869
01:44:10,500 --> 01:44:13,166
And he looked at me
as if he doesn't--
1870
01:44:13,250 --> 01:44:18,583
didn't believe
what he was hearing. (LAUGHS)
1871
01:44:18,667 --> 01:44:20,166
I laugh now at the moment,
1872
01:44:20,250 --> 01:44:22,542
because I sometimes
get that look
1873
01:44:22,625 --> 01:44:24,000
when I do certain things.
1874
01:44:25,417 --> 01:44:30,834
He was just so, so different.
1875
01:44:30,917 --> 01:44:34,792
So laid back, so comfortable,
so unpretentious.
1876
01:44:36,458 --> 01:44:39,208
And that was the beginning
of our relationship.
1877
01:44:40,625 --> 01:44:42,709
(CROWD MURMURING)
1878
01:44:49,166 --> 01:44:53,041
TINA: I really needed love.
I just needed to love a person.
1879
01:44:56,458 --> 01:44:59,000
How many years later, darling,
we got married?
1880
01:44:59,792 --> 01:45:01,083
BACH: Twenty-seven.
1881
01:45:02,250 --> 01:45:05,792
(CHEERING AND APPLAUSE)
1882
01:45:05,875 --> 01:45:10,750
BACH: It's love. It's something
we both have for each other.
1883
01:45:10,834 --> 01:45:15,208
I always refer to it
as an electrical charge.
1884
01:45:15,291 --> 01:45:16,583
I still have it.
1885
01:45:16,667 --> 01:45:19,291
I still have it and even though
when I left her
1886
01:45:19,375 --> 01:45:21,667
two hours ago,
three hours ago this morning,
1887
01:45:21,750 --> 01:45:23,542
I still have that feeling.
1888
01:45:23,625 --> 01:45:27,834
That feeling is still with me,
and, uh, it's in my heart.
1889
01:45:27,917 --> 01:45:29,542
I feel very warm about this.
1890
01:45:29,625 --> 01:45:32,750
♪ (PIANO MUSIC PLAYING) ♪
1891
01:45:41,834 --> 01:45:44,750
(BIRDS SINGING)
1892
01:46:35,834 --> 01:46:38,959
♪ (MUSIC CONCLUDES) ♪
1893
01:46:41,625 --> 01:46:42,959
JOURNALIST:
First, a minute to remember
1894
01:46:43,041 --> 01:46:45,000
one of the fathers
of rock and roll.
1895
01:46:45,083 --> 01:46:48,542
Ike Turner died today at age 76.
1896
01:46:48,625 --> 01:46:51,083
Back in 1951,
Turner helped record
1897
01:46:51,166 --> 01:46:53,208
what is one of the first
rock and roll records,
1898
01:46:53,291 --> 01:46:56,375
"Rocket 88," with his band,
The Kings of Rhythm.
1899
01:46:56,458 --> 01:46:59,166
He may be best known
as the abusive ex-husband
1900
01:46:59,250 --> 01:47:01,792
of Tina Turner, with whom
he performed for many years.
1901
01:47:01,875 --> 01:47:03,041
After their separation,
1902
01:47:03,125 --> 01:47:05,166
Ike Turner continued
to make music.
1903
01:47:05,250 --> 01:47:08,750
In 1991, he was inducted into
the Rock & Roll Hall of Fame,
1904
01:47:08,834 --> 01:47:09,875
and earlier this year,
1905
01:47:09,959 --> 01:47:11,917
his record Risin' with the Blues
1906
01:47:12,000 --> 01:47:14,709
won a Grammy
for Traditional Blues Album.
1907
01:47:16,375 --> 01:47:18,291
TINA: (PRESENT) For a long time,
I did hate Ike,
1908
01:47:18,375 --> 01:47:19,709
I have to say that.
1909
01:47:19,792 --> 01:47:22,709
But then after he died,
1910
01:47:22,792 --> 01:47:25,333
I really realized
that he was a sick person.
1911
01:47:25,417 --> 01:47:28,667
He was an ill person
at the soul.
1912
01:47:29,834 --> 01:47:32,500
He did get me started,
1913
01:47:32,583 --> 01:47:35,417
and, uh, he was good to me
in the beginning.
1914
01:47:35,500 --> 01:47:37,458
So I have some good thoughts.
1915
01:47:39,333 --> 01:47:42,125
Uh, maybe it was a good thing
that I met him.
1916
01:47:42,875 --> 01:47:44,375
That, I don't know.
1917
01:47:45,375 --> 01:47:48,583
♪ (QUIET MUSIC PLAYING) ♪
1918
01:48:01,375 --> 01:48:05,583
TINA: It hurts to have to
remember those times.
1919
01:48:09,625 --> 01:48:14,208
But at a certain stage,
forgiveness takes over.
1920
01:48:16,041 --> 01:48:18,709
Forgiving means
not to hold on.
1921
01:48:19,875 --> 01:48:21,375
You let it go,
1922
01:48:21,458 --> 01:48:23,709
because it only hurts you.
1923
01:48:23,792 --> 01:48:26,458
Not forgiving, you suffer,
1924
01:48:26,542 --> 01:48:28,917
'cause you think about it
over and over again.
1925
01:48:29,000 --> 01:48:30,542
And for what?
1926
01:48:33,250 --> 01:48:35,625
I had an abusive life.
1927
01:48:35,709 --> 01:48:37,583
There's no other way
to tell the story.
1928
01:48:37,667 --> 01:48:39,792
It's a reality, it's a truth.
1929
01:48:41,250 --> 01:48:42,458
That's what you've got.
1930
01:48:43,291 --> 01:48:44,875
So you have to accept it.
1931
01:48:46,291 --> 01:48:49,417
♪ (MUSIC CONTINUES) ♪
1932
01:49:00,667 --> 01:49:03,750
(INDISTINCT CLAMOR)
1933
01:49:17,500 --> 01:49:18,875
Working it.
Working it as always.
1934
01:49:18,959 --> 01:49:20,041
Why thank you, honey.
1935
01:49:20,125 --> 01:49:22,291
Can you tell us
what Tina means to you?
1936
01:49:26,000 --> 01:49:27,875
The money shot is coming.
1937
01:49:27,959 --> 01:49:31,250
♪ (DRAMATIC MUSIC CONTINUES) ♪
1938
01:49:34,458 --> 01:49:36,875
TINA: Some people say
the life that I lived
1939
01:49:36,959 --> 01:49:39,375
and the performances
that I gave,
1940
01:49:39,458 --> 01:49:44,083
the appreciation
is blasting with the people.
1941
01:49:45,041 --> 01:49:48,625
And yeah, I should be proud
of that-- I am--
1942
01:49:51,000 --> 01:49:52,583
but when do you stop
being proud?
1943
01:49:52,667 --> 01:49:53,917
(LAUGHING) I mean, when do you--
1944
01:49:54,000 --> 01:49:57,417
How do you bow out slowly,
1945
01:49:57,500 --> 01:49:58,834
just go away?
1946
01:50:01,333 --> 01:50:02,625
(SIGHS)
1947
01:50:04,792 --> 01:50:07,333
BACH: She said,
"I'm going to America
1948
01:50:07,417 --> 01:50:10,875
and I'm going to say goodbye
to my American fans,
1949
01:50:10,959 --> 01:50:13,417
and, uh, I'll wrap it up."
1950
01:50:13,500 --> 01:50:17,333
And I think this
documentary here and the play,
1951
01:50:18,083 --> 01:50:19,375
this is it.
1952
01:50:20,917 --> 01:50:24,125
It's a closure, a closure.
1953
01:50:25,083 --> 01:50:29,417
CROWD: (CHANTING)
Tina, Tina, Tina!
1954
01:50:29,500 --> 01:50:32,542
(CHEERING)
1955
01:50:34,041 --> 01:50:37,542
(CHANTING CONTINUES)
1956
01:50:47,458 --> 01:50:52,959
What I gleaned
from her life was love.
1957
01:50:53,041 --> 01:50:55,500
Love of self,
love of her family,
1958
01:50:55,583 --> 01:50:58,458
love of her-- of her talent.
1959
01:50:58,542 --> 01:51:00,291
Love of audiences,
1960
01:51:00,375 --> 01:51:02,667
of music, of freedom.
1961
01:51:09,667 --> 01:51:11,291
But there's a part of her,
I guess,
1962
01:51:11,375 --> 01:51:13,500
that we've all laid claim to,
1963
01:51:13,583 --> 01:51:16,667
we've all embraced
across the world,
1964
01:51:16,750 --> 01:51:18,583
and I hope she knows that.
1965
01:51:18,667 --> 01:51:21,583
You know, how beloved,
how loved she is.
1966
01:51:22,750 --> 01:51:25,291
She is absolutely adored.
1967
01:51:26,083 --> 01:51:29,333
(CHEERING AND APPLAUSE)
1968
01:51:29,417 --> 01:51:33,250
♪ (INSPIRING MUSIC PLAYING) ♪
1969
01:52:07,917 --> 01:52:10,083
(CHEERING)
1970
01:52:48,250 --> 01:52:51,500
♪ (MUSIC CONCLUDES) ♪
1971
01:53:03,917 --> 01:53:06,083
(CROWD CHEERING)
1972
01:53:06,166 --> 01:53:10,375
♪ ("SIMPLY THE BEST"
BY TINA TURNER PLAYING) ♪
1973
01:53:23,417 --> 01:53:25,709
(SINGING)
♪ I call you when I need you ♪
1974
01:53:25,792 --> 01:53:28,208
♪ My heart's on fire ♪
1975
01:53:32,417 --> 01:53:36,750
♪ Come to me
Come to me wild and wild ♪
1976
01:53:40,041 --> 01:53:42,250
♪ You come to me ♪
1977
01:53:43,583 --> 01:53:47,166
♪ Give me everything I need ♪
1978
01:53:49,041 --> 01:53:51,667
♪ Give me a lifetime
Of promises ♪
1979
01:53:51,750 --> 01:53:54,208
♪ And a world of dreams ♪
1980
01:53:57,750 --> 01:54:02,917
♪ Speak a language of love
Like you know what it means ♪
1981
01:54:06,291 --> 01:54:09,166
♪ And it can't be wrong ♪
1982
01:54:09,250 --> 01:54:13,250
♪ Take my heart
And make it strong, baby ♪
1983
01:54:14,583 --> 01:54:16,625
♪ You're simply the best ♪
1984
01:54:19,208 --> 01:54:21,917
♪ Better than all the rest ♪
1985
01:54:23,583 --> 01:54:26,375
♪ Better than anyone ♪
1986
01:54:27,583 --> 01:54:30,625
♪ Anyone I've ever met ♪
1987
01:54:32,041 --> 01:54:34,792
♪ I'm stuck on your heart ♪
1988
01:54:36,291 --> 01:54:39,291
♪ I hang on every word you say ♪
1989
01:54:40,667 --> 01:54:43,792
♪ Tear us apart
Oh, no ♪
1990
01:54:45,333 --> 01:54:48,583
♪ Baby, I would rather be dead ♪
1991
01:54:50,000 --> 01:54:54,250
♪ In your heart I see the start
Of every night and every day ♪
1992
01:54:54,333 --> 01:54:55,959
BACKING SINGERS:
♪ Oh, yeah ♪
1993
01:54:58,625 --> 01:55:03,333
♪ In your eyes I get lost
I get washed away ♪
1994
01:55:07,250 --> 01:55:10,750
♪ Just as long
As I'm here in your arms ♪
1995
01:55:10,834 --> 01:55:14,291
♪ I could be
In no better place ♪
1996
01:55:15,250 --> 01:55:17,834
♪ You're simply the best
Whoo! ♪
1997
01:55:19,959 --> 01:55:24,166
♪ Better than all the rest
Whoo! ♪
1998
01:55:24,250 --> 01:55:27,542
♪ Better than anyone ♪
1999
01:55:28,333 --> 01:55:32,041
♪ Anyone I've ever met ♪
2000
01:55:32,125 --> 01:55:35,333
♪ Ooh, I'm stuck on your heart ♪
2001
01:55:37,000 --> 01:55:40,458
♪ And I hang on
Every word you say ♪
2002
01:55:41,333 --> 01:55:44,875
♪ Don't tear us apart, no, no ♪
2003
01:55:46,208 --> 01:55:49,542
♪ Baby, I would rather be dead ♪
2004
01:55:51,458 --> 01:55:55,417
♪ Each time you leave me
I start losing control ♪
2005
01:55:55,500 --> 01:56:00,500
♪ You're walking away
With my heart and my soul ♪
2006
01:56:00,583 --> 01:56:04,667
♪ I can feel you
Even when I'm alone ♪
2007
01:56:04,750 --> 01:56:09,000
♪ Oh, baby, don't let go ♪
2008
01:56:09,083 --> 01:56:10,834
♪ Oh ♪
2009
01:56:19,542 --> 01:56:24,542
♪ Oh, oh, oh, oh, oh ♪
2010
01:56:25,291 --> 01:56:26,792
♪ You're the best ♪
2011
01:56:26,875 --> 01:56:28,166
Sing it, everybody!
2012
01:56:29,333 --> 01:56:32,333
♪ Better than all the rest ♪
2013
01:56:33,959 --> 01:56:36,750
♪ Better than anyone ♪
2014
01:56:37,750 --> 01:56:41,792
♪ Anyone I've ever met ♪
2015
01:56:41,875 --> 01:56:45,208
♪ Ooh, I'm stuck on your heart ♪
2016
01:56:46,667 --> 01:56:49,750
♪ I hang on every word you say ♪
2017
01:56:50,875 --> 01:56:54,625
♪ Don't tear us apart, no, no ♪
2018
01:56:55,750 --> 01:56:59,041
♪ Baby, I would rather be dead ♪
2019
01:56:59,125 --> 01:57:02,083
♪ Ooh, you're the best ♪
2020
01:57:20,917 --> 01:57:24,083
♪ You're simply the best, yeah ♪
2021
01:57:25,750 --> 01:57:28,750
♪ Better than all the rest ♪
2022
01:57:30,458 --> 01:57:33,458
♪ Better than anyone ♪
2023
01:57:34,291 --> 01:57:37,500
♪ Anyone I've ever met ♪
2024
01:57:38,417 --> 01:57:42,000
♪ I'm stuck
On your heart, baby ♪
2025
01:57:43,083 --> 01:57:46,291
♪ I hang on every word you say ♪
2026
01:57:47,125 --> 01:57:50,667
♪ Don't tear us apart, no, no ♪
2027
01:57:52,083 --> 01:57:55,458
♪ Baby, I would rather be dead ♪
2028
01:57:55,542 --> 01:57:57,875
♪ Ooh, you're the best ♪
2029
01:57:57,959 --> 01:58:00,792
(CHEERING AND APPLAUSE)
2030
01:58:06,083 --> 01:58:08,625
♪ (SONG CONCLUDES) ♪
2031
01:58:09,875 --> 01:58:11,166
TINA: Thank you.
149794
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