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All language subtitles for GalaxyRG - Tina.2021.720p.WEBRip.800MB.x264-GalaxyRG_track3_[eng]

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:14,071 --> 00:00:17,191 (CROWD CHEERING) 2 00:00:17,211 --> 00:00:21,141 (CHANTING) Tina! Tina! Tina! Tina! 3 00:00:24,220 --> 00:00:26,231 TINA TURNER: Well, hey, everybody! 4 00:00:26,251 --> 00:00:28,150 (CROWD CHEERING) 5 00:00:28,170 --> 00:00:31,200 TINA: Come on, give it to me. I said hi, everybody! 6 00:00:31,220 --> 00:00:33,170 (CROWD CHEERING LOUDER) 7 00:00:33,191 --> 00:00:35,250 Let me hear you say, "ow!" 8 00:00:36,030 --> 00:00:37,111 CROWD: Ow! 9 00:00:37,130 --> 00:00:40,200 ♪ ("ASK ME HOW I FEEL" BY TINA TURNER PLAYING) ♪ 10 00:00:56,250 --> 00:01:00,170 (SINGING) ♪ Oh, waiting in the storm ♪ 11 00:01:00,191 --> 00:01:03,041 ♪ Ask me how I feel ♪ 12 00:01:03,060 --> 00:01:05,100 ♪ When things are going wrong ♪ 13 00:01:05,120 --> 00:01:07,191 ♪ Ask me how I feel ♪ 14 00:01:07,210 --> 00:01:09,240 ♪ The night is awful cold ♪ 15 00:01:10,021 --> 00:01:11,240 ♪ Ask me how I feel ♪ 16 00:01:12,021 --> 00:01:14,161 ♪ You're much too loose To hold ♪ 17 00:01:14,180 --> 00:01:18,051 ♪ Ask me how I feel ♪ 18 00:01:18,070 --> 00:01:20,100 ♪ You don't treat me tender ♪ 19 00:01:20,120 --> 00:01:22,240 ♪ No matter what I do ♪ 20 00:01:23,021 --> 00:01:25,100 ♪ I'm the great pretender ♪ 21 00:01:25,120 --> 00:01:28,221 ♪ Whoa, oh, oh, oh, oh ♪ 22 00:01:28,240 --> 00:01:31,081 ♪ Waiting in the storm ♪ 23 00:01:31,100 --> 00:01:33,060 ♪ Ask me how I feel ♪ 24 00:01:33,081 --> 00:01:35,141 ♪ When things are going wrong ♪ 25 00:01:35,161 --> 00:01:37,231 ♪ You gotta ask me how I feel ♪ 26 00:01:37,250 --> 00:01:40,141 BACKING SINGERS: (SINGING) ♪ When the night is awful cold ♪ 27 00:01:40,161 --> 00:01:42,120 TINA: ♪ Ask me how I feel ♪ 28 00:01:42,141 --> 00:01:44,201 BACKING SINGERS: ♪ You know You're much too loose to hold ♪ 29 00:01:44,221 --> 00:01:46,180 TINA: ♪ Come on And ask me how I feel ♪ 30 00:01:46,201 --> 00:01:48,081 ♪ (SONG FADES) ♪ 31 00:01:48,100 --> 00:01:51,100 ♪ (MELANCHOLIC MUSIC PLAYING) ♪ 32 00:01:55,171 --> 00:01:57,130 INTERVIEWER 1: I wondered sometimes 33 00:01:57,150 --> 00:02:01,120 if anyone has approached you to do the story of your life, 34 00:02:01,141 --> 00:02:03,090 which is indeed fantastic. 35 00:02:03,111 --> 00:02:04,191 TINA: (CHUCKLES) Yes. 36 00:02:04,210 --> 00:02:06,191 But I don't want to play the part. 37 00:02:06,210 --> 00:02:08,051 I've done it. 38 00:02:08,071 --> 00:02:10,051 INTERVIEWER 1: Who else could play the part of Tina Turner? 39 00:02:10,071 --> 00:02:12,220 TINA: We'll find someone. (LAUGHS) 40 00:02:12,240 --> 00:02:16,030 I just really don't want to play the part, you know what I mean? 41 00:02:16,051 --> 00:02:17,111 No, you don't know what I mean 42 00:02:17,131 --> 00:02:19,060 'cause you'd have to know me to know. 43 00:02:19,081 --> 00:02:22,160 It was just so unlike me, my life, 44 00:02:22,180 --> 00:02:25,041 that I don't want anyone to know about it, I mean... 45 00:02:25,060 --> 00:02:27,111 INTERVIEWER 1: You mean it'd be too painful or too-- 46 00:02:27,131 --> 00:02:30,021 TINA: Ah, it wasn't a-- It wasn't-- 47 00:02:30,041 --> 00:02:31,111 It wasn't a good life. 48 00:02:31,131 --> 00:02:32,210 It was in some areas, 49 00:02:32,231 --> 00:02:34,231 but the goodness did not balance the bad. 50 00:02:34,250 --> 00:02:37,210 So it's like not-- not wanting to be reminded. 51 00:02:37,231 --> 00:02:39,141 You don't like to pull out old clothes, you know? 52 00:02:39,160 --> 00:02:41,120 -INTERVIEWER 1: Uh-huh. -TINA: It's like old memories, 53 00:02:41,141 --> 00:02:43,141 you wanna just leave that in the past and done with, 54 00:02:43,160 --> 00:02:45,100 and a lot of things you don't really wanna say, 55 00:02:45,120 --> 00:02:48,030 but there comes a time when you do have to say it. 56 00:02:48,051 --> 00:02:51,231 ♪ (MELANCHOLIC MUSIC CONTINUES) ♪ 57 00:03:08,250 --> 00:03:12,231 ♪ (MUSIC FADES) ♪ 58 00:03:12,250 --> 00:03:15,141 CAMERA ASSISTANT: This is interview one, take one. 59 00:03:15,160 --> 00:03:17,150 (CLAPPERBOARD SNAPS) 60 00:03:17,171 --> 00:03:19,201 PRODUCER: In 1981, you did this interview 61 00:03:19,220 --> 00:03:23,041 with People magazine where, for the first time, really, 62 00:03:23,060 --> 00:03:25,220 you spoke openly about your past with Ike. 63 00:03:25,240 --> 00:03:27,030 Yeah. 64 00:03:27,051 --> 00:03:28,191 PRODUCER: And I'm curious if you can remember at all 65 00:03:28,210 --> 00:03:32,131 any of the thoughts you had around the decision 66 00:03:32,150 --> 00:03:35,220 -to be public about that? -About my past? 67 00:03:35,240 --> 00:03:38,051 PRODUCER: About your past, but also, I guess, 68 00:03:38,071 --> 00:03:42,131 -about the abuse specifically. -Yeah. Yeah, that was quite... 69 00:03:42,150 --> 00:03:44,160 nerve-racking. Actually, I called my psychic 70 00:03:44,180 --> 00:03:47,051 and I said, "What's gonna happen?" 71 00:03:47,071 --> 00:03:52,021 'Cause I was really apprehensive about giving the story away, 72 00:03:52,041 --> 00:03:56,201 because it was telling, it was really telling. 73 00:03:56,220 --> 00:03:58,191 And she said, "No, Tina, 74 00:03:58,210 --> 00:04:01,060 it's going to do just the opposite. 75 00:04:01,081 --> 00:04:03,160 It's gonna break everything wide open." 76 00:04:03,180 --> 00:04:05,101 CARL ARRINGTON: In the early eighties, 77 00:04:05,120 --> 00:04:08,220 being in People magazine was the equivalent of going viral. 78 00:04:08,240 --> 00:04:11,051 We had 30 million readers, 79 00:04:11,071 --> 00:04:14,060 and if somebody wanted to reach a lot of people, 80 00:04:14,081 --> 00:04:19,021 there was really no bigger place to go than People magazine. 81 00:04:19,040 --> 00:04:22,210 I was the music editor of People magazine for many years, 82 00:04:22,230 --> 00:04:27,170 uh, and this is the December 7th, 1981 issue, 83 00:04:27,191 --> 00:04:31,030 when Tina decided to tell her story. 84 00:04:31,050 --> 00:04:33,100 And it was the first time she'd told the story 85 00:04:33,121 --> 00:04:34,230 in public to a journalist. 86 00:04:35,191 --> 00:04:37,251 So, um, this is the story. 87 00:04:38,030 --> 00:04:41,061 I reported it and wrote it for People magazine. 88 00:04:43,111 --> 00:04:47,050 This is, uh, the picture of Tina. 89 00:04:47,071 --> 00:04:53,111 (READS HEADLINE OUT LOUD) 90 00:04:53,131 --> 00:04:56,210 "Tina Turner remains rock's original Jagger, 91 00:04:56,230 --> 00:05:00,030 a primitive force who, glittering in sequins 92 00:05:00,050 --> 00:05:01,251 and a gold chain miniskirt, 93 00:05:02,030 --> 00:05:05,131 typically assaults the stage in mid-scream 94 00:05:05,150 --> 00:05:08,131 with both legs pumping, hips grinding, 95 00:05:08,150 --> 00:05:11,251 long mane whirling, and her mouth wrapped around 96 00:05:12,030 --> 00:05:15,061 some of the sexiest sounds ever set to music. 97 00:05:15,081 --> 00:05:19,030 More than five years have passed since Tina's bitter break 98 00:05:19,050 --> 00:05:22,241 with Ike Turner, her long-time husband, sideman, 99 00:05:23,021 --> 00:05:25,141 and music collaborator on such classics 100 00:05:25,160 --> 00:05:28,220 as 'Proud Mary' and 'Come Together.' 101 00:05:28,241 --> 00:05:31,230 Only now is Tina able to discuss 102 00:05:31,251 --> 00:05:34,241 what she claims were the harrowing events 103 00:05:35,021 --> 00:05:36,201 leading up to their split." 104 00:05:38,170 --> 00:05:40,201 TINA: (ARCHIVAL) I lived 16 years with a man 105 00:05:40,220 --> 00:05:43,201 that I knew there was no way I could ever be happy with, 106 00:05:43,220 --> 00:05:46,100 but I felt that I had to stay there. 107 00:05:46,121 --> 00:05:47,201 ARRINGTON: Mm-hmm. 108 00:05:47,220 --> 00:05:49,201 TINA: You have to believe me, now, when I tell you something. 109 00:05:49,220 --> 00:05:52,150 My ex-husband was a physically violent man. 110 00:05:52,170 --> 00:05:54,220 I went through basic torture. 111 00:05:54,241 --> 00:05:57,150 ARRINGTON: Torture? You would say-- you would call it torture? 112 00:05:57,170 --> 00:05:59,150 TINA: I-- To me it was. 113 00:05:59,170 --> 00:06:01,251 A lot of people don't know, and your magazine 114 00:06:02,030 --> 00:06:05,131 will probably be the first to make it publicly known. 115 00:06:06,090 --> 00:06:08,210 I was living a life of death. 116 00:06:09,131 --> 00:06:11,141 I didn't exist. 117 00:06:11,160 --> 00:06:13,081 -But I survived it. -ARRINGTON: Hm. 118 00:06:13,100 --> 00:06:15,241 TINA: And when I walked out, I walked. 119 00:06:16,030 --> 00:06:17,150 And I didn't look back. 120 00:06:20,030 --> 00:06:23,040 ARRINGTON: (PRESENT) People choose to tell their story 121 00:06:23,061 --> 00:06:24,251 for lots of different reasons. 122 00:06:25,030 --> 00:06:26,160 I think she told me so much 123 00:06:26,181 --> 00:06:28,210 because she wanted to just tell it 124 00:06:28,230 --> 00:06:30,160 and then forget it. 125 00:06:30,181 --> 00:06:32,111 It didn't quite work out that way 126 00:06:32,131 --> 00:06:37,040 because now that story is a great mark of her life. 127 00:06:44,030 --> 00:06:45,230 SAM RIDDLE: Ladies and gentlemen, 128 00:06:45,251 --> 00:06:48,210 -you've seen them live from coast to coast. -(RHYTHMIC CLAPPING) 129 00:06:48,230 --> 00:06:51,150 Now you're about to see them all together 130 00:06:51,170 --> 00:06:54,100 for the very first time on national television. 131 00:06:54,121 --> 00:06:57,081 Hollywood A Go-Go presents the fantastic 132 00:06:57,100 --> 00:07:00,160 -Ike and Tina Turner Revue! -(CHEERING AND APPLAUSE) 133 00:07:00,181 --> 00:07:05,081 ♪ ("GIMME SOME LOVING/ SWEET SOUL MUSIC" MEDLEY PLAYS) ♪ 134 00:07:23,110 --> 00:07:25,141 ♪ (MUSIC CONTINUES) ♪ 135 00:07:30,191 --> 00:07:33,131 LE'JEUNE FLETCHER: When I was a teenager back in the sixties, 136 00:07:33,150 --> 00:07:36,111 I knew of their record that they had out, 137 00:07:36,131 --> 00:07:40,081 but I had never seen them. And then they came on TV, 138 00:07:40,100 --> 00:07:42,030 and I saw her dancing. 139 00:07:42,050 --> 00:07:44,030 And that's all I could look at. 140 00:07:44,050 --> 00:07:48,201 I was just so amazed at this woman! 141 00:07:48,220 --> 00:07:50,160 ♪ (MUSIC CONTINUES) ♪ 142 00:07:55,021 --> 00:07:57,090 OPRAH WINFREY: I remember standing there watching her 143 00:07:57,111 --> 00:07:58,210 and saying, 144 00:07:58,230 --> 00:08:00,201 "Whatever that is, 145 00:08:00,220 --> 00:08:02,220 I want some of that." 146 00:08:02,241 --> 00:08:04,100 I got the spirit. 147 00:08:04,121 --> 00:08:07,210 It's no different than being in a church 148 00:08:07,230 --> 00:08:10,220 where you are moved and stirred to the point 149 00:08:10,241 --> 00:08:12,181 where you could feel it inside yourself. 150 00:08:12,201 --> 00:08:14,141 ♪ ("SWEET SOUL MUSIC" BY IKE AND TINA TURNER PLAYING) ♪ 151 00:08:14,160 --> 00:08:16,210 (SINGING) ♪ Do you like good music? ♪ 152 00:08:17,201 --> 00:08:19,131 ♪ Sweet soul music ♪ 153 00:08:20,121 --> 00:08:22,100 ♪ Long as it's swingin' ♪ 154 00:08:23,100 --> 00:08:25,121 ♪ Yeah, yeah ♪ 155 00:08:25,141 --> 00:08:27,170 ♪ Get out here on the floor Y'all ♪ 156 00:08:28,181 --> 00:08:31,040 ♪ Dancing to a go-go ♪ 157 00:08:31,061 --> 00:08:33,060 ♪ And dancing to the music ♪ 158 00:08:34,080 --> 00:08:36,070 ♪ Yeah, yeah ♪ 159 00:08:36,091 --> 00:08:38,231 ♪ Spotlight is on me, y'all ♪ 160 00:08:38,251 --> 00:08:41,040 ♪ And I'm having A ball, y'all... ♪ 161 00:08:41,060 --> 00:08:44,190 ANGELA BASSETT: Back then, you had the whole Motown Revue, 162 00:08:44,211 --> 00:08:47,131 you had Diana Ross, Mary Wells, 163 00:08:47,150 --> 00:08:50,080 the Temptations in these Italian suits, 164 00:08:50,101 --> 00:08:53,190 and were putting forth an image of sophistication. 165 00:08:53,211 --> 00:08:55,070 And they were all... 166 00:08:55,091 --> 00:08:56,111 (HUMS QUIETLY) 167 00:08:56,131 --> 00:08:59,170 ...that kind of stuff, and Tina was more, "yeah!" 168 00:08:59,190 --> 00:09:03,190 That kind of stuff, it's wild, it's your sensuality, 169 00:09:03,211 --> 00:09:05,180 your sexuality, and it's in your face. 170 00:09:05,200 --> 00:09:07,131 TINA: (SINGING) ♪ Dancing to a go-go ♪ 171 00:09:07,150 --> 00:09:10,040 ♪ And dancing to the music ♪ 172 00:09:10,060 --> 00:09:11,170 INTERVIEWER 2: Did you ever study dancing? 173 00:09:11,190 --> 00:09:12,211 -No. -INTERVIEWER 2: No? 174 00:09:12,231 --> 00:09:15,021 And what about-- what about music, uh, singing? 175 00:09:15,040 --> 00:09:16,091 No, no music at all. 176 00:09:16,111 --> 00:09:18,030 Everything is just natural for me. 177 00:09:18,050 --> 00:09:19,111 I'm a performer. 178 00:09:19,131 --> 00:09:23,080 And I sing and Ike does the, uh, the managing and producing. 179 00:09:24,251 --> 00:09:28,160 It was Ike's band, but he knew 180 00:09:28,180 --> 00:09:32,091 that in order to-- to be a number one, 181 00:09:32,111 --> 00:09:36,060 he needed Tina, 'cause Tina was the shining star. 182 00:09:44,121 --> 00:09:46,180 ♪ (SONG CONCLUDES) ♪ 183 00:09:46,200 --> 00:09:49,070 (CHEERING AND APPLAUSE) 184 00:09:52,231 --> 00:09:55,150 (INDISTINCT CHATTER) 185 00:09:57,211 --> 00:09:59,141 TINA: (ARCHIVAL) 186 00:10:00,121 --> 00:10:02,121 ARRINGTON: 187 00:10:02,231 --> 00:10:05,200 TINA: 188 00:10:12,050 --> 00:10:14,160 ♪ ("BOXTOP" BY IKE TURNER PLAYING) ♪ 189 00:10:14,180 --> 00:10:16,070 ♪ Box top ♪ 190 00:10:16,200 --> 00:10:17,211 ♪ Let's rock ♪ 191 00:10:17,231 --> 00:10:19,251 ♪ Don't let it stop ♪ 192 00:10:20,030 --> 00:10:21,180 ♪ You bet not ♪ 193 00:10:21,200 --> 00:10:23,231 ♪ Oh, box top... ♪ 194 00:10:23,251 --> 00:10:27,091 TINA: (ARCHIVAL) 195 00:10:29,241 --> 00:10:31,150 ♪ (SONG CONTINUES) ♪ 196 00:10:41,091 --> 00:10:44,111 ♪ (SONG CONTINUES) ♪ 197 00:10:51,211 --> 00:10:52,221 (SCOFFS) 198 00:11:08,060 --> 00:11:13,160 TINA: (SINGING) ♪ He gave ♪ 199 00:11:14,080 --> 00:11:17,121 ♪ Me a mother ♪ 200 00:11:18,211 --> 00:11:22,030 ♪ And he gave me ♪ 201 00:11:22,050 --> 00:11:25,150 ♪ A father too ♪ 202 00:11:26,141 --> 00:11:29,190 ♪ He gave ♪ 203 00:11:29,211 --> 00:11:33,141 ♪ Yes, gave me everything ♪ 204 00:11:34,070 --> 00:11:37,111 ♪ And then he gave ♪ 205 00:11:38,040 --> 00:11:41,141 ♪ He gave me you ♪ 206 00:11:42,101 --> 00:11:45,091 ♪ He gave... ♪ 207 00:11:45,211 --> 00:11:47,200 TINA: (ARCHIVAL) 208 00:11:56,070 --> 00:11:58,211 -ARRINGTON: -TINA: 209 00:11:58,231 --> 00:12:01,091 TINA: (SINGING) ♪ He gave ♪ 210 00:12:01,111 --> 00:12:03,141 ♪ Yes, gave me everything... ♪ 211 00:12:03,160 --> 00:12:05,131 TINA: (ARCHIVAL) 212 00:12:18,060 --> 00:12:20,211 (SINGING) ♪ Could I want... ♪ 213 00:12:20,231 --> 00:12:23,121 JIMMY THOMAS: He was like her hero, 214 00:12:23,141 --> 00:12:25,060 like a big brother. 215 00:12:25,080 --> 00:12:27,231 And he seen her like a little sister. 216 00:12:27,251 --> 00:12:30,170 That relationship was very beautiful, 217 00:12:30,190 --> 00:12:32,030 it really was. 218 00:12:33,170 --> 00:12:37,160 TINA: 219 00:12:46,251 --> 00:12:50,021 TINA: (SINGING) ♪ He gave Me strength to love with... ♪ 220 00:12:50,040 --> 00:12:51,180 TINA: (PRESENT) I wasn't thinking of... 221 00:12:51,200 --> 00:12:54,131 "I'll go to St. Louis, and I'll start singing, 222 00:12:54,150 --> 00:12:56,070 and I'll be a star." 223 00:12:57,030 --> 00:13:00,121 I was young, naive, 224 00:13:00,141 --> 00:13:02,091 just a country girl, 225 00:13:02,111 --> 00:13:06,251 and everything just opened up to me. 226 00:13:07,030 --> 00:13:10,070 TINA: (SINGING) ♪ And most of all ♪ 227 00:13:10,231 --> 00:13:14,091 ♪ He gave me you ♪ 228 00:13:14,111 --> 00:13:16,150 INTERVIEWER 3: Tina, you started your musical career 229 00:13:16,170 --> 00:13:18,131 in a church choir in your hometown. 230 00:13:18,150 --> 00:13:21,190 Do you consider your musical roots to be Black gospel? 231 00:13:21,211 --> 00:13:25,251 Oh, yes, certainly. Black gospel, blues, 232 00:13:26,030 --> 00:13:28,251 BB King's music was our radio during that time. 233 00:13:29,030 --> 00:13:30,160 INTERVIEWER 3: Mm-hmm. What kind of songs 234 00:13:30,180 --> 00:13:32,241 were you singing as a member of the church choir? 235 00:13:33,021 --> 00:13:38,060 (LAUGHS) Well, we called them-- Well, it was a Baptist church, 236 00:13:38,080 --> 00:13:41,070 and they were just spiritual songs, um... 237 00:13:41,091 --> 00:13:46,021 songs about, you know, love, and, um, giving, 238 00:13:46,040 --> 00:13:48,030 and, uh, and, uh... 239 00:13:48,050 --> 00:13:51,180 doing all of the right things that make life good. 240 00:13:53,021 --> 00:13:54,101 Those were good times, you know, 241 00:13:54,121 --> 00:13:57,190 to remember all of the church singing and the choir and all. 242 00:14:00,101 --> 00:14:02,131 ♪ (QUIET PIANO MUSIC PLAYING) ♪ 243 00:14:02,150 --> 00:14:05,091 TINA: (PRESENT) When you're in the South, there's nothing... happened 244 00:14:05,111 --> 00:14:08,050 except the church, the piano, the preacher. 245 00:14:08,070 --> 00:14:11,150 During that time, I didn't know about anywhere else, 246 00:14:11,170 --> 00:14:15,241 so seeing Lucille Ball and Loretta Young, 247 00:14:16,021 --> 00:14:18,150 all the beautiful ladies of Hollywood, 248 00:14:18,170 --> 00:14:24,060 they were a role model for a performer. 249 00:14:24,080 --> 00:14:27,190 But I didn't think that I would actually achieve that, 250 00:14:27,211 --> 00:14:29,190 because, first, I wasn't pretty, 251 00:14:29,211 --> 00:14:32,170 and I didn't have the clothes, I didn't have the means. 252 00:14:35,101 --> 00:14:38,101 TINA: (ARCHIVAL) I remember the first Vogue magazine that I saw, 253 00:14:38,121 --> 00:14:42,170 and I remember my first French poster of Champs-Élysées, 254 00:14:42,190 --> 00:14:47,091 uh, the Eiffel Tower, and the-- the very-- very French woman. 255 00:14:47,111 --> 00:14:49,091 I was like, "Ah, that's what I want! 256 00:14:49,111 --> 00:14:52,021 The world. That's where I wanna go." 257 00:14:57,050 --> 00:14:59,070 KURT LODER: I got the impression from her, she always felt 258 00:14:59,091 --> 00:15:02,241 a little bit of out of time or a little bit out of place. 259 00:15:03,021 --> 00:15:05,241 I didn't think she ever felt like people understood her 260 00:15:06,021 --> 00:15:08,111 or really liked her for who she was. 261 00:15:08,131 --> 00:15:10,091 And the talent she had, 262 00:15:10,111 --> 00:15:11,190 she finally learned that she had, 263 00:15:11,211 --> 00:15:14,190 can win you a lot of people who will recognize who you are 264 00:15:14,211 --> 00:15:17,180 and will become like your-- your real family, 265 00:15:18,070 --> 00:15:19,111 uh, or try to. 266 00:15:20,160 --> 00:15:22,211 INTERVIEWER 4: Ike, first of all, if we can-- 267 00:15:22,231 --> 00:15:25,060 if we can kinda go back a long way 268 00:15:25,080 --> 00:15:26,160 to when you were a young man, 269 00:15:26,180 --> 00:15:28,231 a lot of people credit you with doing 270 00:15:28,251 --> 00:15:31,180 the first ever rock and roll record, "Rocket 88." 271 00:15:31,200 --> 00:15:33,180 -Yeah, that was in 1951. -INTERVIEWER 4: Yeah. 272 00:15:33,200 --> 00:15:35,241 How did-- how did that thing happen? 273 00:15:36,021 --> 00:15:38,121 Well... (CLEARS THROAT) I lived in Clarksdale, Mississippi, 274 00:15:38,141 --> 00:15:41,091 which is actually 61 miles from Memphis, 275 00:15:41,111 --> 00:15:45,021 and BB King, uh, my mother, she practically raised him, you know? 276 00:15:45,040 --> 00:15:48,050 And, um, one night, we was coming from Chambers, Mississippi, playing, 277 00:15:48,070 --> 00:15:49,131 and, uh, BB, I asked him, I said, 278 00:15:49,150 --> 00:15:51,170 "Man, can we play a song?" And he said-- he said, "Yeah." 279 00:15:51,190 --> 00:15:53,241 So he let my band play one number, so anyway, 280 00:15:54,021 --> 00:15:56,021 he said, "Man, you guys should be recording." 281 00:15:56,040 --> 00:15:58,080 And, man, we didn't have any material, so on the way up, 282 00:15:58,101 --> 00:16:01,021 we decided to write this song, and that's when I wrote the song "Rocket 88." 283 00:16:01,040 --> 00:16:02,211 ♪ ("ROCKET 88" BY JACKIE BRENSTON PLAYING) ♪ 284 00:16:02,231 --> 00:16:04,070 ♪ You women Have heard of jalopies ♪ 285 00:16:04,091 --> 00:16:05,180 ♪ You've heard The noise they make ♪ 286 00:16:05,200 --> 00:16:08,221 ♪ But let me introduce My new Rocket 88 ♪ 287 00:16:08,241 --> 00:16:12,030 ♪ Yes, it's straight Just won't wait ♪ 288 00:16:12,050 --> 00:16:14,231 ♪ Everybody likes My Rocket 88 ♪ 289 00:16:14,251 --> 00:16:16,241 ♪ Baby, we'll ride in style ♪ 290 00:16:17,021 --> 00:16:19,150 ♪ Moving all along ♪ 291 00:16:20,211 --> 00:16:23,060 LODER: Ike Turner is a very important part 292 00:16:23,080 --> 00:16:25,091 of R&B history. Everybody relied on him 293 00:16:25,111 --> 00:16:28,180 'cause he really knew music, and he scored a real hit record 294 00:16:28,200 --> 00:16:31,190 with a song in 1951 called "Rocket 88." 295 00:16:31,211 --> 00:16:34,040 People say it's the first rock and roll record. 296 00:16:34,060 --> 00:16:36,070 And when it comes out, Chess has credited it 297 00:16:36,091 --> 00:16:38,160 to Jackie Brenston and his Delta Cats. 298 00:16:38,180 --> 00:16:40,141 Ike Turner did that song, you know. 299 00:16:40,160 --> 00:16:42,030 He made everything about it happen, 300 00:16:42,050 --> 00:16:44,121 and it's credited to one of his saxophone players. 301 00:16:44,141 --> 00:16:46,160 Imagine how he feels about this? 302 00:16:46,180 --> 00:16:48,211 And I think that's the story of his career. 303 00:16:48,231 --> 00:16:50,141 I think he became paranoid about that, 304 00:16:50,160 --> 00:16:53,040 he said, "People are always trying to rip me off." 305 00:16:53,060 --> 00:16:55,180 RHONDA GRAAM: He was always obsessed on it. 306 00:16:55,200 --> 00:16:58,251 "Everybody leaves me. I make 'em, you know, popular 307 00:16:59,030 --> 00:17:01,160 and get a hit record and everything for them, 308 00:17:01,180 --> 00:17:02,190 and they all leave me." 309 00:17:05,231 --> 00:17:07,130 TINA: (PRESENT) Ike had a problem 310 00:17:07,151 --> 00:17:09,120 of writing songs for people 311 00:17:09,140 --> 00:17:11,021 and they would leave, 312 00:17:11,040 --> 00:17:13,120 and I promised him that I wouldn't leave him. 313 00:17:15,110 --> 00:17:17,151 In those days, a promise is a promise. 314 00:17:21,080 --> 00:17:23,040 ARRINGTON: (ARCHIVAL) 315 00:17:23,181 --> 00:17:25,130 TINA: (ARCHIVAL) 316 00:17:25,151 --> 00:17:26,251 -ARRINGTON: -TINA: 317 00:17:27,030 --> 00:17:28,040 ARRINGTON: Bullock. 318 00:17:29,060 --> 00:17:30,231 ARRINGTON: 319 00:17:30,251 --> 00:17:32,151 (APPLAUSE) 320 00:17:32,171 --> 00:17:35,100 ♪ ("A FOOL IN LOVE" BY IKE AND TINA TURNER PLAYING) ♪ 321 00:17:35,120 --> 00:17:38,251 TINA: (SINGING) ♪ Ooh ♪ 322 00:17:40,100 --> 00:17:43,221 ♪ There's something on my mind ♪ 323 00:17:44,161 --> 00:17:48,140 ♪ Won't somebody please ♪ 324 00:17:48,161 --> 00:17:53,080 ♪ Please tell me what's wrong ♪ 325 00:17:53,100 --> 00:17:57,040 -♪ You're just a fool You know you're in love ♪ -♪ What you say? ♪ 326 00:17:57,060 --> 00:18:00,151 -♪ You've got to face it To let it explode ♪ -♪ Hey, hey, hey, hey, hey ♪ 327 00:18:00,171 --> 00:18:04,060 -♪ You take the good Along with the bad ♪ -♪ Yeah, hey, yeah ♪ 328 00:18:04,080 --> 00:18:06,231 ♪ Sometimes you're happy And sometimes you're sad ♪ 329 00:18:06,251 --> 00:18:08,181 ♪ One more time ♪ 330 00:18:08,201 --> 00:18:11,021 -♪ You know you love him You can't understand ♪ -♪ Tell me about it now ♪ 331 00:18:11,040 --> 00:18:14,201 ♪ Why he treats you like he do When he's such a good man... ♪ 332 00:18:14,221 --> 00:18:16,040 TINA: (PRESENT) I finished school, 333 00:18:16,060 --> 00:18:19,060 and I went to a recording studio and I did a demo, 334 00:18:19,080 --> 00:18:21,050 and that's when the hit record came. 335 00:18:22,060 --> 00:18:25,140 ♪ Oh, now I must be a fool ♪ 336 00:18:25,161 --> 00:18:27,211 ♪ 'Cause I'll do anything He wants me to do ♪ 337 00:18:27,231 --> 00:18:30,030 -♪ Now tell me how it goes ♪ -♪ You're just a fool ♪ 338 00:18:30,050 --> 00:18:32,140 -♪ You know you're in love ♪ -♪ Yeah, one more time ♪ 339 00:18:32,161 --> 00:18:35,050 ♪ You've got to face it To let it explode ♪ 340 00:18:35,070 --> 00:18:36,191 ♪ Yeah, yeah, yeah, yeah, yeah ♪ 341 00:18:36,211 --> 00:18:38,130 TINA: (PRESENT) Ike came in and he said, you know, 342 00:18:38,151 --> 00:18:40,080 "The people in New York are very excited. 343 00:18:40,100 --> 00:18:42,171 We got a hit record." He was very excited, you know. 344 00:18:42,191 --> 00:18:45,021 And then there was a contract started coming in. 345 00:18:45,040 --> 00:18:47,050 ♪ (SOMBER MUSIC PLAYING) ♪ 346 00:18:48,090 --> 00:18:51,070 TINA: I was very ignorant to show business. 347 00:18:51,090 --> 00:18:53,181 I didn't have any idea what it was about. 348 00:18:56,181 --> 00:18:58,120 THOMAS: She really was young. 349 00:19:00,021 --> 00:19:04,181 She never had no ambition to be some kind of superstar, 350 00:19:04,201 --> 00:19:08,021 but she-- when she sang, she just-- she just had it. 351 00:19:09,191 --> 00:19:12,021 And Ike exploited it. 352 00:19:12,040 --> 00:19:15,021 He had to make sure he was gonna get his this time, 353 00:19:15,040 --> 00:19:17,161 so he makes sure that his name is on it. 354 00:19:17,181 --> 00:19:19,181 GRAAM: And that's when he put the whole show together, 355 00:19:19,201 --> 00:19:20,251 the Ike and Tina Turner Revue, 356 00:19:21,030 --> 00:19:23,060 and gave her the name Tina Turner. 357 00:19:25,090 --> 00:19:29,181 TINA: (ARCHIVAL) 358 00:19:34,181 --> 00:19:38,040 GRAAM: Sheena, Queen of the Jungle, it was a TV series. 359 00:19:38,060 --> 00:19:40,211 "Tina" and "Sheena," I guess it just sounded close to him, 360 00:19:40,231 --> 00:19:43,231 and it sounded good, "Ike and Tina Revue," 361 00:19:43,251 --> 00:19:45,231 as a whole entity. 362 00:19:45,251 --> 00:19:47,241 So he changed it, didn't even ask her, 363 00:19:48,021 --> 00:19:49,201 she didn't know anything about it. 364 00:19:49,221 --> 00:19:53,030 ♪ (SOMBER MUSIC CONTINUES) ♪ 365 00:19:57,191 --> 00:20:00,030 THOMAS: Tina was the gold mine, he knew that. 366 00:20:02,070 --> 00:20:04,171 He created this Frankenstein thing, 367 00:20:04,191 --> 00:20:07,100 and he had to control her. 368 00:20:07,120 --> 00:20:11,030 So he had to change that thing from, "being my little sister, 369 00:20:11,050 --> 00:20:13,120 no, no, you've gotta be my wife now." 370 00:20:13,140 --> 00:20:14,171 Boom. 371 00:20:14,191 --> 00:20:17,100 ♪ (SOMBER MUSIC CONTINUES) ♪ 372 00:20:38,060 --> 00:20:40,080 TINA: (ARCHIVAL) 373 00:21:52,161 --> 00:21:54,181 (INAUDIBLE) 374 00:22:05,060 --> 00:22:07,181 GRAAM: You'd never know from one minute to the next, 375 00:22:07,201 --> 00:22:09,030 Ike could be having a good time, 376 00:22:09,050 --> 00:22:10,181 and everybody was having a good time, 377 00:22:10,201 --> 00:22:12,161 and it could just flip in a second. 378 00:22:12,181 --> 00:22:15,021 And I think, with-- with women, I think, you know, 379 00:22:15,040 --> 00:22:17,171 he figured he had the upper hand. 380 00:22:17,191 --> 00:22:20,211 And especially like with Tina, you know, that was like... 381 00:22:22,060 --> 00:22:25,040 I think him instilling in her, 382 00:22:25,060 --> 00:22:26,201 "You'd better be good, or, you know, 383 00:22:26,221 --> 00:22:28,251 I'm gonna beat the shit out of you." 384 00:22:29,030 --> 00:22:31,251 And did on many occasions, you know, I mean, 385 00:22:32,030 --> 00:22:35,171 and for no reason, a lot of times, it was just... 386 00:22:36,251 --> 00:22:38,060 I really don't know. 387 00:22:38,080 --> 00:22:40,110 I don't think he knows a lot of the time. 388 00:22:44,201 --> 00:22:47,030 TINA: (ARCHIVAL) I felt obligated to stay there, 389 00:22:47,050 --> 00:22:48,151 and I was afraid. 390 00:22:48,171 --> 00:22:50,070 And I stayed. That was just how it was. 391 00:22:50,090 --> 00:22:52,231 I felt very loyal to Ike, and I didn't wanna hurt him. 392 00:22:52,251 --> 00:22:55,021 I mean, sometimes, like, after he'd beat me up, 393 00:22:55,040 --> 00:22:56,140 I'd end up feeling sorry for him, 394 00:22:56,161 --> 00:22:57,161 and why am I feeling sorry? 395 00:22:57,181 --> 00:22:59,050 I'm sitting here all bruised and torn, 396 00:22:59,070 --> 00:23:01,040 and then all of a sudden I'm feeling sorry for him, 397 00:23:01,060 --> 00:23:03,171 you know? Little things like that. 398 00:23:03,191 --> 00:23:05,151 I was 23 years old or something, you know, 399 00:23:05,171 --> 00:23:08,090 I mean, early twenties. I was just all-- 400 00:23:08,110 --> 00:23:10,191 How do you call it when someone brainwashes you like this? 401 00:23:10,211 --> 00:23:12,211 -ARRINGTON: Brainwashed. -TINA: Maybe I was brainwashed. 402 00:23:12,231 --> 00:23:15,050 Yeah, I was-- I was afraid of him... 403 00:23:15,070 --> 00:23:18,090 and, um, I cared what happened to him, 404 00:23:18,110 --> 00:23:21,030 and I knew that if I left, there was no one to sing. 405 00:23:21,050 --> 00:23:24,090 So I was caught up in guilt and fear. 406 00:23:24,110 --> 00:23:26,201 Yeah, those are the two worst qualities, I think, 407 00:23:26,221 --> 00:23:29,070 for a young girl to be caught up into. 408 00:23:29,090 --> 00:23:31,241 ♪ (OMINOUS MUSIC PLAYING) ♪ 409 00:23:34,140 --> 00:23:35,201 (CHEERING AND APPLAUSE) 410 00:23:35,221 --> 00:23:39,080 ANNOUNCER 1: And now let's go with Ike and Tina Turner! 411 00:23:39,100 --> 00:23:43,161 ♪ ("SHAKE" BY IKE AND TINA TURNER PLAYING) ♪ 412 00:23:50,030 --> 00:23:52,100 ♪ Listen while I talk to you ♪ 413 00:23:52,120 --> 00:23:54,221 ♪ I'll tell you What I'm gonna do ♪ 414 00:23:54,241 --> 00:23:57,110 ♪ There's a new dance That's going around ♪ 415 00:23:57,130 --> 00:24:00,050 ♪ I wanna tell you What they're putting down ♪ 416 00:24:00,070 --> 00:24:02,100 ♪ Just move your body All around ♪ 417 00:24:02,120 --> 00:24:03,120 ♪ Shake ♪ 418 00:24:03,140 --> 00:24:05,050 ♪ Oh, baby... ♪ 419 00:24:05,070 --> 00:24:08,201 THOMAS: In those early days, we'd play three shows a night. 420 00:24:08,221 --> 00:24:11,140 Two shows this place, two shows that place 421 00:24:11,161 --> 00:24:13,251 and two shows at the after-hours place. 422 00:24:14,030 --> 00:24:16,030 It was hard work. 423 00:24:16,050 --> 00:24:20,080 FLETCHER: I can remember working as many as four shows a night, 424 00:24:20,100 --> 00:24:23,090 and every night and every show... 425 00:24:23,110 --> 00:24:25,030 -♪ (MUSIC ENDS ABRUPTLY) ♪ -...was packed. 426 00:24:25,050 --> 00:24:26,201 Was packed. 427 00:24:26,221 --> 00:24:28,231 TINA: (ARCHIVAL) Right now, I'm gonna tell you a little something about my man. 428 00:24:28,251 --> 00:24:31,050 ♪ ("MY MAN, HE'S A LOVIN' MAN" BY IKE AND TINA TURNER PLAYING) ♪ 429 00:24:31,070 --> 00:24:32,231 (CROWD CHEERING) 430 00:24:32,251 --> 00:24:36,030 -TINA: ♪ My man ♪ -BACKING SINGERS: ♪ Your man Your man, your man... ♪ 431 00:24:36,050 --> 00:24:38,130 FLETCHER: He rehearsed constantly. 432 00:24:38,151 --> 00:24:40,251 Even sometimes we'd be driving to the next show, 433 00:24:41,030 --> 00:24:42,221 and he'd be playing the guitar in the back 434 00:24:42,241 --> 00:24:45,241 and having Tina sing. I mean, it was 24/7. 435 00:24:46,021 --> 00:24:47,100 LODER: The show has to be perfect. 436 00:24:47,120 --> 00:24:49,060 Every single part of it has to be perfect. 437 00:24:49,080 --> 00:24:51,021 He was one of those guys who would, you know, 438 00:24:51,040 --> 00:24:53,030 turn around on stage and point at somebody, 439 00:24:53,050 --> 00:24:55,021 they know they're getting a ten-dollar fine 440 00:24:55,040 --> 00:24:56,110 'cause they just blew a note. 441 00:24:56,130 --> 00:24:59,060 TINA: ♪ He lets 'em know That he's a one-woman man ♪ 442 00:24:59,080 --> 00:25:00,080 ♪ My man ♪ 443 00:25:00,100 --> 00:25:02,070 BASSETT: She didn't have the glam team, 444 00:25:02,090 --> 00:25:03,221 someone doing the hair and the makeup 445 00:25:03,241 --> 00:25:05,231 and the stylist getting the wardrobe. 446 00:25:05,251 --> 00:25:08,080 They did it all themselves. 447 00:25:08,100 --> 00:25:10,241 -TINA: ♪ My man ♪ -BACKING SINGERS: ♪ Your man, your man, your man ♪ 448 00:25:11,021 --> 00:25:13,110 TINA: ♪ You know He's really all right ♪ 449 00:25:13,130 --> 00:25:15,070 BACKING SINGERS: ♪ Your man, your man, your man ♪ 450 00:25:15,090 --> 00:25:18,050 TINA: ♪ Yeah, yeah, yeah He treats me... ♪ 451 00:25:18,070 --> 00:25:21,181 TINA: (PRESENT) The only freedom I had was when the Ikettes and I 452 00:25:21,201 --> 00:25:25,050 got the dancing ready and I got the dresses ready, 453 00:25:25,070 --> 00:25:26,151 and we'd get everything, 454 00:25:26,171 --> 00:25:28,211 except we didn't even know what song was coming up. 455 00:25:28,231 --> 00:25:32,120 He would, "duh-dum," do it with the guitar, you know? 456 00:25:32,140 --> 00:25:35,060 TINA: ♪ Here in our home My man ♪ 457 00:25:35,080 --> 00:25:36,231 TINA: (PRESENT) It was awful in a way, 458 00:25:36,251 --> 00:25:38,080 but it was a lesson. 459 00:25:38,100 --> 00:25:42,251 Now that I look back, I see it as a training. 460 00:25:43,030 --> 00:25:47,211 You-- you adjust to what is given, 461 00:25:47,231 --> 00:25:50,070 and that is what was given at the time. 462 00:25:50,090 --> 00:25:54,021 ♪ (SOMBER MUSIC PLAYING) ♪ 463 00:25:56,070 --> 00:25:58,100 LODER: He controlled the music, and she had to-- 464 00:25:58,120 --> 00:26:00,070 It was always his music, and it was-- 465 00:26:00,090 --> 00:26:02,211 which is very samey, if you listen to it all the time. 466 00:26:02,231 --> 00:26:05,100 A lot of it's just brilliant. I love those records. 467 00:26:05,120 --> 00:26:06,191 But it's-- it's of a type. 468 00:26:06,211 --> 00:26:08,221 It's one thing. It's Ike Turner's stuff. 469 00:26:08,241 --> 00:26:11,130 And she-- I think she had broader tastes than that. 470 00:26:11,151 --> 00:26:14,151 She must have felt there was more you could do with music than this. 471 00:26:14,171 --> 00:26:16,120 I think she probably had a bigger dream than-- 472 00:26:16,140 --> 00:26:18,120 without knowing it, than he did. 473 00:26:20,221 --> 00:26:23,151 THOMAS: People started to see that there was more to Tina 474 00:26:23,171 --> 00:26:26,070 than what Ike had to offer her. 475 00:26:26,090 --> 00:26:29,171 Especially after the River Deep Mountain High album, 476 00:26:29,191 --> 00:26:31,191 you know, with Phil Spector. 477 00:26:31,211 --> 00:26:33,221 LODER: Phil Spector was the greatest pop record producer 478 00:26:33,241 --> 00:26:35,040 of that period. 479 00:26:35,060 --> 00:26:37,060 He played the studio like an instrument, you know, 480 00:26:37,080 --> 00:26:38,211 and he found all these singers, 481 00:26:38,231 --> 00:26:40,161 and he made these wonderful records. 482 00:26:40,181 --> 00:26:43,161 And when Phil Spector wanted to make River Deep Mountain High, 483 00:26:43,181 --> 00:26:45,191 Ike's presence was not necessary. 484 00:26:45,211 --> 00:26:48,040 Just bring Tina in, 'cause she's the star. 485 00:26:48,060 --> 00:26:49,161 (INDISTINCT CHATTER) 486 00:26:49,181 --> 00:26:53,050 GRAAM: Spector didn't want Ike nowhere near the studio, 487 00:26:53,070 --> 00:26:55,040 so he paid Ike X amount of dollars 488 00:26:55,060 --> 00:26:58,140 to get him taken care of, so to speak, 489 00:26:58,161 --> 00:27:01,080 so that he wasn't-- wouldn't interfere with Tina. 490 00:27:01,100 --> 00:27:03,221 And that was the first time they gave Tina... 491 00:27:05,030 --> 00:27:08,030 her chance to sing differently. 492 00:27:08,050 --> 00:27:10,140 -♪ (MUSIC PLAYING) ♪ -(PHIL SPECTOR HUMMING) 493 00:27:10,161 --> 00:27:15,171 TINA: (PRESENT) I remember starting to sing with Phil, 494 00:27:15,191 --> 00:27:19,030 that style of singing which I had been singing. 495 00:27:19,050 --> 00:27:20,231 -TINA: ♪ When I was-- ♪ -♪ (MUSIC STOPS) ♪ 496 00:27:20,251 --> 00:27:22,050 SPECTOR: One more time. 497 00:27:22,070 --> 00:27:24,181 And he said, "No, no, no, no. Just sing the melody." 498 00:27:25,191 --> 00:27:27,151 And I liked that. 499 00:27:27,171 --> 00:27:30,231 That was a freedom that I didn't have. 500 00:27:30,251 --> 00:27:34,181 You know, like a bird that gets out of a cage. 501 00:27:34,201 --> 00:27:37,211 I was excited about singing a different type of song. 502 00:27:37,231 --> 00:27:41,050 I was excited about getting out of the studio on my own. 503 00:27:41,070 --> 00:27:44,120 It was a freedom to do something different. 504 00:27:44,140 --> 00:27:47,231 ♪ ("RIVER DEEP MOUNTAIN HIGH" BY TINA TURNER PLAYING) ♪ 505 00:27:49,201 --> 00:27:52,201 TINA: (SINGING) ♪ When I was a little girl ♪ 506 00:27:52,221 --> 00:27:54,221 ♪ I had a rag doll ♪ 507 00:27:55,181 --> 00:27:58,171 ♪ Only doll I've ever owned ♪ 508 00:28:01,090 --> 00:28:06,211 ♪ Now I love you just the way I loved that rag doll ♪ 509 00:28:06,231 --> 00:28:10,021 ♪ But only now My love has grown ♪ 510 00:28:11,090 --> 00:28:13,140 ♪ And it gets stronger ♪ 511 00:28:14,070 --> 00:28:16,231 ♪ In every way ♪ 512 00:28:16,251 --> 00:28:19,191 ♪ And it gets deeper ♪ 513 00:28:19,211 --> 00:28:22,161 ♪ Let me say ♪ 514 00:28:22,181 --> 00:28:25,060 ♪ And it gets higher ♪ 515 00:28:25,201 --> 00:28:28,191 ♪ Day by day ♪ 516 00:28:28,211 --> 00:28:34,090 ♪ And do I love you My, oh, my ♪ 517 00:28:34,110 --> 00:28:38,151 ♪ Yeah, river deep Mountain high ♪ 518 00:28:38,171 --> 00:28:40,161 ♪ Yeah, yeah, yeah ♪ 519 00:28:40,181 --> 00:28:45,060 ♪ And if I lost you Would I cry ♪ 520 00:28:45,251 --> 00:28:48,221 ♪ Oh, how I love you, baby ♪ 521 00:28:48,241 --> 00:28:53,080 ♪ Baby, baby, baby ♪ 522 00:28:53,100 --> 00:28:55,030 TINA: (PRESENT) It was so big, 523 00:28:55,050 --> 00:28:57,151 and my voice sounded so different 524 00:28:57,171 --> 00:28:59,221 standing on top of all that music. 525 00:28:59,241 --> 00:29:01,221 TINA: (SINGING) ♪ I love you, baby ♪ 526 00:29:01,241 --> 00:29:05,120 ♪ Like the flower Loves the spring... ♪ 527 00:29:05,140 --> 00:29:06,231 THOMAS: People started to see 528 00:29:06,251 --> 00:29:09,021 Tina was capable of so much more. 529 00:29:09,040 --> 00:29:10,241 She-- she had wings, man. 530 00:29:11,021 --> 00:29:13,070 TINA: ♪ And I love you, baby ♪ 531 00:29:13,090 --> 00:29:16,140 ♪ Like a schoolboy Loves his pet ♪ 532 00:29:16,161 --> 00:29:19,120 LODER: This is such an overpowering orchestration, 533 00:29:19,140 --> 00:29:20,140 it's so complex, 534 00:29:20,161 --> 00:29:23,050 it's this record that just blows out walls. 535 00:29:24,030 --> 00:29:26,040 TINA: (SINGING) ♪ Baby ♪ 536 00:29:26,221 --> 00:29:28,151 ♪ Baby... ♪ 537 00:29:28,171 --> 00:29:32,100 TINA: (PRESENT) 538 00:29:32,120 --> 00:29:34,050 TINA: (SINGING) ♪ Oh, baby ♪ 539 00:29:34,070 --> 00:29:35,090 ♪ Oh ♪ 540 00:29:37,130 --> 00:29:39,100 ♪ Oh ♪ 541 00:29:39,120 --> 00:29:40,110 ♪ (MUSIC ENDS ABRUPTLY) ♪ 542 00:29:40,130 --> 00:29:41,191 It just died in the United States. 543 00:29:41,211 --> 00:29:42,241 It died. Nobody wanted to hear it. 544 00:29:43,021 --> 00:29:44,181 And you listen to this record and you think, 545 00:29:44,201 --> 00:29:46,100 "What's the matter with this country?" 546 00:29:46,120 --> 00:29:48,130 You know? I'm so ashamed to be an American. 547 00:29:48,151 --> 00:29:51,021 (LAUGHS) You know, it's like, "What's wrong?" 548 00:29:51,040 --> 00:29:55,181 Um, so-- And that was a big blow to Spector's career, 549 00:29:55,201 --> 00:29:59,060 and, you know, maybe Ike, probably, 550 00:29:59,080 --> 00:30:01,070 was thinking, you know, "Well, see? 551 00:30:01,090 --> 00:30:04,181 He's not so great. (CHUCKLES) You should stick with me." 552 00:30:04,201 --> 00:30:08,110 Like any Black artist in America that do, uh, any tune, 553 00:30:08,130 --> 00:30:11,040 it has to go, like, top ten on the R&B charts 554 00:30:11,060 --> 00:30:13,090 before the top 40 stations will touch it. 555 00:30:13,110 --> 00:30:16,120 And "River Deep," uh, was not a Black record, 556 00:30:16,140 --> 00:30:19,080 you know, and so it wouldn't make the top ten on R&B charts, 557 00:30:19,100 --> 00:30:22,060 and so, therefore, the top 40 radio stations wouldn't play it. 558 00:30:22,080 --> 00:30:24,161 But where in England, they, uh, they listen to the record, 559 00:30:24,181 --> 00:30:27,151 and if the record is an R&B record, it's an R&B rhythm, you know, 560 00:30:27,171 --> 00:30:29,080 if it's rhythm and blues, it's rhythm and blues, 561 00:30:29,100 --> 00:30:30,181 and if it's pop, it's pop, you know, 562 00:30:30,201 --> 00:30:32,221 and so it got played over here. It never got played in America. 563 00:30:32,241 --> 00:30:34,090 The Black jockeys say it's too white, 564 00:30:34,110 --> 00:30:35,171 the white jockeys say it's too Black. 565 00:30:35,191 --> 00:30:38,191 ♪ ("CONTACT HIGH" BY TINA TURNER PLAYING) ♪ 566 00:30:42,030 --> 00:30:43,140 TINA: (SINGING) ♪ I was at this party ♪ 567 00:30:43,161 --> 00:30:45,191 ♪ That had the doors All closed ♪ 568 00:30:48,070 --> 00:30:51,080 ♪ All this funny smoke Kept goin' up my nose ♪ 569 00:30:53,221 --> 00:30:56,251 ♪ They had this joint That they was passin' around ♪ 570 00:30:58,251 --> 00:31:02,140 ♪ But when they got to me I turned it down... ♪ 571 00:31:02,161 --> 00:31:04,110 (HELICOPTER BLADES WHIRRING) 572 00:31:04,130 --> 00:31:06,070 -ARRINGTON: (ARCHIVAL) You live in LA? -TINA: Yes. 573 00:31:06,090 --> 00:31:07,211 ARRINGTON: What sort of life do you have? 574 00:31:07,231 --> 00:31:10,130 TINA: Well, my life is sort of based around my four sons. 575 00:31:10,151 --> 00:31:12,231 I have a housekeeper that takes care of them when I travel. 576 00:31:12,251 --> 00:31:14,231 Being a wife and being Tina at the same time 577 00:31:14,251 --> 00:31:16,060 is almost like a split person. 578 00:31:16,080 --> 00:31:18,171 But I'm able to separate the two, so everything is fine, 579 00:31:18,191 --> 00:31:21,100 and the whole thing is sane. 580 00:31:21,120 --> 00:31:25,120 TINA: ♪ But everybody got tired Of blowin' that grass ♪ 581 00:31:27,191 --> 00:31:29,030 ♪ I told 'em at first... ♪ 582 00:31:29,050 --> 00:31:33,070 Ike Junior and Michael were Ike's kids 583 00:31:33,090 --> 00:31:36,181 by Lorraine, his previous wife. 584 00:31:36,201 --> 00:31:40,241 Tina had Craig when she was with the saxophone player, 585 00:31:41,021 --> 00:31:42,080 Raymond Hill, 586 00:31:42,100 --> 00:31:45,251 and then she had Ronnie, you know, with Ike. 587 00:31:46,030 --> 00:31:48,251 They were, like, all together by the time I met Tina. 588 00:31:50,151 --> 00:31:52,151 TINA: (ARCHIVAL) Michael, don't stand on that-- that door, 589 00:31:52,171 --> 00:31:54,151 don't lean on that door like that. 590 00:31:55,241 --> 00:31:57,090 TINA: (PRESENT) I made myself a family. 591 00:31:57,110 --> 00:32:00,171 I totally psyched myself out, and I made a home, 592 00:32:00,191 --> 00:32:04,120 and I found some pleasure in that home every now and then. 593 00:32:04,140 --> 00:32:06,080 Birthdays with children, and dinners, 594 00:32:06,100 --> 00:32:07,231 Thanksgiving dinners, periodically, 595 00:32:07,251 --> 00:32:09,231 but at least I had some sense of a life 596 00:32:09,251 --> 00:32:11,181 of what I had always wanted. 597 00:32:11,201 --> 00:32:14,021 ♪ But I was just too stoned To take that ride ♪ 598 00:32:14,040 --> 00:32:15,181 ♪ (MUSIC FADES) ♪ 599 00:32:15,201 --> 00:32:18,130 ♪ (PIANO MUSIC PLAYING) ♪ 600 00:32:20,120 --> 00:32:21,251 CRAIG TURNER: Where my trophy at? 601 00:32:22,030 --> 00:32:23,090 Give me my trophy. 602 00:32:23,110 --> 00:32:25,151 That's a water boy trophy, it's not-- 603 00:32:25,171 --> 00:32:27,110 -Where's Mother's new trophy? -SIBLING: Hey, Craig? 604 00:32:27,130 --> 00:32:28,181 -CRAIG: What? -(INDISTINCT CHATTER) 605 00:32:28,201 --> 00:32:31,090 CRAIG: She was gone most of the time. 606 00:32:31,110 --> 00:32:33,090 Over a period of eight years, 607 00:32:33,110 --> 00:32:34,241 everything was basically the same, 608 00:32:35,021 --> 00:32:36,251 eight months on the road, four months back, 609 00:32:37,030 --> 00:32:39,231 eight months on the road, four months back. 610 00:32:39,251 --> 00:32:42,030 She was very, very strict, um, 611 00:32:42,050 --> 00:32:43,130 particularly when she was home. 612 00:32:43,151 --> 00:32:46,110 We couldn't have company unless we finished our homework, 613 00:32:46,130 --> 00:32:49,100 we had to do our chores, we had to eat breakfast, 614 00:32:49,120 --> 00:32:51,120 lunch, and dinner at the same time. 615 00:32:51,140 --> 00:32:54,231 She really took to raising us personally 616 00:32:54,251 --> 00:32:57,130 because, basically, that was her happiness 617 00:32:57,151 --> 00:32:58,171 to a certain extent. 618 00:33:00,050 --> 00:33:02,181 ARRINGTON: (ARCHIVAL) 619 00:33:02,251 --> 00:33:04,171 TINA: 620 00:33:09,181 --> 00:33:10,241 ARRINGTON: 621 00:33:11,021 --> 00:33:13,030 TINA: 622 00:33:26,030 --> 00:33:29,191 CRAIG: Everybody was happy around my mother, 623 00:33:29,211 --> 00:33:31,120 and she was always sad. 624 00:33:31,140 --> 00:33:33,021 She never had friends, 625 00:33:33,040 --> 00:33:35,201 she never had anybody she could really confide in. 626 00:33:35,221 --> 00:33:38,201 So, basically, her happiness was with us 627 00:33:38,221 --> 00:33:40,241 and her time alone in her room. 628 00:33:41,021 --> 00:33:43,161 And there was nothing she can do about her circumstances. 629 00:33:43,181 --> 00:33:44,231 (INDISTINCT CHATTER) 630 00:33:44,251 --> 00:33:47,070 CRAIG: He had to know where she was at all the time. 631 00:33:47,090 --> 00:33:50,090 She was on allowance, she didn't have her own money. 632 00:33:50,110 --> 00:33:52,120 My mother really had a nonexistent life 633 00:33:52,140 --> 00:33:55,100 other than the studio and the house. 634 00:33:55,120 --> 00:33:59,060 (INDISTINCT CHATTER ECHOING) 635 00:33:59,080 --> 00:34:01,191 KATORI HALL: When I first interviewed her, 636 00:34:01,211 --> 00:34:03,201 one of the questions she kept on asking was, 637 00:34:03,221 --> 00:34:07,191 "Why did I stay? Why did I stay? People wanna know why I stayed." 638 00:34:07,211 --> 00:34:10,131 And for me, it was interesting 639 00:34:10,151 --> 00:34:14,200 to think about the violence that happened before Ike, 640 00:34:14,220 --> 00:34:17,131 'cause I think a lot of people don't know that 641 00:34:17,151 --> 00:34:21,021 she grew up watching violence in her own home. 642 00:34:22,231 --> 00:34:25,251 -(WIND WHISTLING) -(INSECTS CHIRPING) 643 00:34:29,021 --> 00:34:31,080 TINA: (ARCHIVAL) 644 00:34:40,151 --> 00:34:42,040 -ARRINGTON: -TINA: 645 00:34:42,060 --> 00:34:43,060 ARRINGTON: 646 00:34:43,080 --> 00:34:44,191 TINA: 647 00:34:45,091 --> 00:34:47,031 ARRINGTON: 648 00:34:47,180 --> 00:34:49,071 TINA: 649 00:34:49,231 --> 00:34:52,021 (PLANTS RUSTLING) 650 00:34:55,220 --> 00:34:56,220 (SIGHS) 651 00:36:01,100 --> 00:36:04,080 ♪ ("PROUD MARY" BY IKE AND TINA TURNER PLAYING) ♪ 652 00:36:04,100 --> 00:36:05,140 TINA: And right now... 653 00:36:06,080 --> 00:36:08,021 (APPLAUSE) 654 00:36:08,040 --> 00:36:11,021 I think you might like to hear something from us... 655 00:36:11,040 --> 00:36:13,191 -nice... -IKE TURNER: (SINGING) ♪ Left A good job down in the city♪ 656 00:36:13,211 --> 00:36:17,021 -TINA: ...and easy. -(AUDIENCE CHEERS) 657 00:36:17,040 --> 00:36:19,160 -IKE: ♪ Working for the man... ♪ -TINA: Well, now... 658 00:36:20,100 --> 00:36:22,191 I'd like to do that for you. 659 00:36:22,211 --> 00:36:25,200 But there's just one thing. You see... 660 00:36:25,220 --> 00:36:28,111 we never, ever do nothing... 661 00:36:29,160 --> 00:36:32,071 -nice and easy. -♪ (IKE CONTINUES SINGING) ♪ 662 00:36:32,091 --> 00:36:37,040 TINA: (CHUCKLES) We always do it nice... 663 00:36:37,171 --> 00:36:39,040 and rough. 664 00:36:40,091 --> 00:36:42,151 And we're gonna take the beginning of this song, 665 00:36:43,111 --> 00:36:46,231 and we're gonna do it... easy. 666 00:36:46,251 --> 00:36:49,120 -(SINGING) ♪ Rolling ♪ -IKE: ♪ Rolling ♪ 667 00:36:49,140 --> 00:36:53,060 -TINA: ♪ Rolling on a river ♪ -IKE: ♪ Rolling on a river My, my ♪ 668 00:36:53,080 --> 00:36:54,120 TINA: Listen. 669 00:36:55,080 --> 00:36:57,091 (SINGING) ♪ I left a good job ♪ 670 00:36:57,111 --> 00:36:59,211 -♪ In the city ♪ -IKE: ♪ Down in the city ♪ 671 00:36:59,231 --> 00:37:02,140 ARRINGTON: (ARCHIVAL) 672 00:37:06,040 --> 00:37:08,031 TINA: 673 00:37:19,021 --> 00:37:21,160 -♪ (MUSIC CONTINUES) ♪ -(AUDIENCE CLAPPING) 674 00:37:21,180 --> 00:37:26,091 TINA: (SINGING) ♪ Proud Mary keep on burning ♪ 675 00:37:26,111 --> 00:37:28,211 -♪ And we're rollin'... ♪ -IKE: ♪ Rollin' ♪ 676 00:37:28,231 --> 00:37:31,200 TINA: (PRESENT) I was truly a friend to Ike. 677 00:37:31,220 --> 00:37:34,060 I had promised that I would help him... 678 00:37:35,180 --> 00:37:39,231 so I was still trying to help him to get a hit record. 679 00:37:39,251 --> 00:37:43,180 ♪ The river ♪ 680 00:37:43,200 --> 00:37:45,060 IKE: Two, three, four, come on! 681 00:37:45,080 --> 00:37:48,051 ♪ (MUSIC TEMPO SPEEDS UP) ♪ 682 00:37:50,131 --> 00:37:51,131 Whoo! 683 00:37:55,031 --> 00:37:57,231 ♪ Now I left a good job In the city ♪ 684 00:37:57,251 --> 00:38:00,171 ♪ Working for the man Every night and day ♪ 685 00:38:00,191 --> 00:38:03,051 ♪ And I never lost One minute of sleepin' ♪ 686 00:38:03,071 --> 00:38:05,240 ♪ Worryin' 'bout the way Things might have been ♪ 687 00:38:06,021 --> 00:38:08,211 -♪ Big wheel keep on turnin' ♪ -♪ Turnin' ♪ 688 00:38:08,231 --> 00:38:11,091 -♪ Proud Mary keep on burnin' ♪ -♪ Burnin' ♪ 689 00:38:11,111 --> 00:38:12,231 -♪ Rollin' ♪ -♪ Yeah ♪ 690 00:38:12,251 --> 00:38:14,091 -♪ Rollin' ♪ -♪ All right ♪ 691 00:38:14,111 --> 00:38:16,080 ♪ Rollin' on the river ♪ 692 00:38:16,100 --> 00:38:17,200 ♪ I said we're rollin' ♪ 693 00:38:17,220 --> 00:38:19,131 -♪ Rollin' ♪ -♪ Yeah ♪ 694 00:38:19,151 --> 00:38:21,251 ♪ Rollin' on the river ♪ 695 00:38:22,031 --> 00:38:24,191 ♪ River doo-doo-doo Doo-doo-doo-doo ♪ 696 00:38:24,211 --> 00:38:26,051 ♪ Doo-doo-doo-doo ♪ 697 00:38:29,131 --> 00:38:31,091 (CROWD CHEERING) 698 00:38:34,120 --> 00:38:36,160 TINA: (PRESENT) "Proud Mary" became a hit. 699 00:38:36,180 --> 00:38:38,060 We were all over America. 700 00:38:38,080 --> 00:38:41,131 (SINGING) ♪ And I pumped a lot Of 'tane down in New Orleans ♪ 701 00:38:41,151 --> 00:38:44,031 ♪ But I never saw The good side of the city ♪ 702 00:38:44,051 --> 00:38:46,180 ♪ Till I hitched a ride On the riverboat queen ♪ 703 00:38:46,200 --> 00:38:47,251 ♪ Big wheel keep on turnin'... ♪ 704 00:38:48,031 --> 00:38:49,220 PHOTOGRAPHER: That's fabulous. 705 00:38:49,240 --> 00:38:51,240 INTERVIEWER 5: Who settles an argument if you-- 706 00:38:52,021 --> 00:38:55,200 Ah, things are not always the way they look, you know. 707 00:38:55,220 --> 00:38:57,100 INTERVIEWER 5: No, Ike's kinda quiet. 708 00:38:57,120 --> 00:38:58,151 TINA: Yeah, he's-- he's-- 709 00:38:58,171 --> 00:39:01,180 Ike is very bashful when the lights are on, and-- 710 00:39:01,200 --> 00:39:03,140 (LAUGHTER) 711 00:39:03,160 --> 00:39:05,040 TINA: But on the other hand, 712 00:39:05,060 --> 00:39:06,180 when he's in the recording studio, 713 00:39:06,200 --> 00:39:08,151 Ike's the one that does all of the ruling around, 714 00:39:08,171 --> 00:39:11,031 the talking, he's the whole thing. 715 00:39:11,051 --> 00:39:12,151 INTERVIEWER 5: But in public, he's like this. 716 00:39:12,171 --> 00:39:14,240 Yeah, 'cause he can't get it together. It takes him-- 717 00:39:15,021 --> 00:39:16,200 (LAUGHTER) 718 00:39:19,080 --> 00:39:22,180 ARRINGTON: (ARCHIVAL) 719 00:39:26,231 --> 00:39:28,211 TINA: 720 00:39:40,120 --> 00:39:43,100 (SINGING) ♪ You better do it I said we're rollin'... ♪ 721 00:39:43,120 --> 00:39:46,131 TINA: (PRESENT) 722 00:39:47,231 --> 00:39:51,080 (SINGING) ♪ Rollin' Rollin' on the river ♪ 723 00:39:51,100 --> 00:39:53,071 ♪ Whoa ♪ 724 00:39:53,171 --> 00:39:56,240 TINA: 725 00:39:58,111 --> 00:39:59,240 ♪ (MUSIC FADES) ♪ 726 00:40:00,021 --> 00:40:03,171 ♪ (TINA SINGING INDISTINCTLY) ♪ 727 00:40:05,231 --> 00:40:07,091 ♪ Hey ♪ 728 00:40:09,240 --> 00:40:12,071 TINA: 729 00:40:20,191 --> 00:40:25,171 ♪ (TINA SINGING INDISTINCTLY) ♪ 730 00:40:25,191 --> 00:40:28,220 I swear you're behind me. Y'all behind me, right? 731 00:40:28,240 --> 00:40:31,140 These are-- I'm on-- I'm on a speed above 732 00:40:31,160 --> 00:40:32,191 where y'all feel that. 733 00:40:32,211 --> 00:40:35,021 -You don't hear me. -(TINA SPEAKING INDISTINCTLY) 734 00:40:35,160 --> 00:40:37,120 TINA: 735 00:40:42,191 --> 00:40:44,051 I'm just sayin', like, you're telling her-- 736 00:40:44,071 --> 00:40:45,231 you're tellin' her that, and she's not getting there. 737 00:40:45,251 --> 00:40:47,200 I'm just trying to give her an example... 738 00:40:48,080 --> 00:40:49,180 of how to sing. 739 00:40:50,180 --> 00:40:53,051 IKE: Okay. (SPEAKS INDISTINCTLY) 740 00:40:56,091 --> 00:40:58,131 TINA: (PRESENT) 741 00:41:11,120 --> 00:41:13,100 CRAIG: In the later part of their career when, you know, 742 00:41:13,120 --> 00:41:14,100 the hits weren't coming in, 743 00:41:14,120 --> 00:41:15,200 a lot of money wasn't coming in, 744 00:41:15,220 --> 00:41:18,140 he started placing the blame elsewhere. 745 00:41:18,160 --> 00:41:21,071 You know, he took a lot of his anger out on her. 746 00:41:21,091 --> 00:41:22,231 ♪ (SOMBER MUSIC PLAYING) ♪ 747 00:41:22,251 --> 00:41:26,151 CRAIG: Most of the time, um, when Ike would come home, 748 00:41:26,171 --> 00:41:28,140 he would take her back in the room 749 00:41:28,160 --> 00:41:29,240 and then close the door. 750 00:41:30,021 --> 00:41:32,100 And there'd be the screams. 751 00:41:32,120 --> 00:41:34,091 And we were so petrified, we were in bed 752 00:41:34,111 --> 00:41:36,231 with the, you know, covers over our heads. 753 00:41:36,251 --> 00:41:40,131 And then I remember one time he was, uh... 754 00:41:40,151 --> 00:41:43,080 (BREATHES DEEPLY, CLEARS THROAT) 755 00:41:45,040 --> 00:41:47,160 (VOICE SHAKING) ...he was, um, striking my mother, 756 00:41:48,120 --> 00:41:49,231 and I was young, 757 00:41:49,251 --> 00:41:54,021 and, uh, he had thrown some scalding hot coffee on her. 758 00:41:56,021 --> 00:41:57,231 And I went, banged on the door... 759 00:41:59,171 --> 00:42:01,231 and I said, "Mother!" And then it stopped, 760 00:42:01,251 --> 00:42:03,191 and then she said, "Craig, I'm okay." 761 00:42:05,140 --> 00:42:08,071 He came to apologize, 762 00:42:08,091 --> 00:42:11,071 and he apologized for the third-degree burn 763 00:42:11,091 --> 00:42:13,240 but didn't apologize for throwing the coffee on her. 764 00:42:14,021 --> 00:42:15,231 At that point in time, I hated that man 765 00:42:15,251 --> 00:42:17,211 for the rest of my life. 766 00:42:17,231 --> 00:42:20,251 And I will never forget that, never. 767 00:42:27,051 --> 00:42:29,091 TINA: (ARCHIVAL) 768 00:42:38,191 --> 00:42:40,151 I had begun to not really care. 769 00:42:43,120 --> 00:42:45,231 And I was there alone. 770 00:42:45,251 --> 00:42:48,021 How can I tell you what alone meant? 771 00:43:18,200 --> 00:43:22,031 (INDISTINCT SINGING, LAUGHING) 772 00:43:22,051 --> 00:43:23,180 TINA: 773 00:43:30,100 --> 00:43:32,240 ALL: (SINGING) ♪ Tell me have you seen him ♪ 774 00:43:33,021 --> 00:43:34,151 (LAUGHING) 775 00:43:37,021 --> 00:43:38,211 TINA: 776 00:43:50,151 --> 00:43:53,120 GRAAM: We got to the hospital, and they pumped her stomach 777 00:43:53,140 --> 00:43:57,031 and Ike was out talking to the doctor or something, 778 00:43:57,051 --> 00:43:58,220 and I was in there, just her and I, 779 00:43:58,240 --> 00:44:01,080 and I was scared shitless, and I said, 780 00:44:01,100 --> 00:44:03,091 "Tina, you can't die on me. Come on, now." 781 00:44:03,111 --> 00:44:05,151 It just really scared me, 'cause I didn't know what had-- 782 00:44:05,171 --> 00:44:09,251 you know-- if she was gonna pull through or not. 783 00:44:10,160 --> 00:44:14,191 (INAUDIBLE) 784 00:44:20,040 --> 00:44:21,151 TINA: (PRESENT) 785 00:44:24,220 --> 00:44:26,251 ♪ (MUSIC STOPS) ♪ 786 00:44:37,151 --> 00:44:40,021 -INTERVIEWER 6: These are some difficult questions, now, and... -IKE: Okay. 787 00:44:40,040 --> 00:44:42,151 INTERVIEWER 6: ...there was a time when she was unhappy, 788 00:44:42,171 --> 00:44:44,080 and there was a suicide attempt. 789 00:44:44,100 --> 00:44:46,080 Can you talk about her unhappiness 790 00:44:46,100 --> 00:44:48,021 and how that made you feel? 791 00:44:52,091 --> 00:44:54,191 Well, I can't really say how I felt 792 00:44:54,211 --> 00:44:57,191 because I never knew how she felt. 793 00:44:57,211 --> 00:45:01,211 I didn't know why she attempted suicide, uh, uh, 794 00:45:01,231 --> 00:45:05,171 because I thought maybe that it was a, uh, uh... 795 00:45:07,040 --> 00:45:08,040 well... 796 00:45:10,151 --> 00:45:11,140 Let me start this again. 797 00:45:11,160 --> 00:45:14,040 Uh, all right, at first, Tina, um, 798 00:45:14,060 --> 00:45:16,231 attempting suicide two or three times, 799 00:45:16,251 --> 00:45:20,211 um, I think that this was some form of attention. 800 00:45:20,231 --> 00:45:24,131 Um, she was unhappy about the things that I was doing. 801 00:45:24,151 --> 00:45:26,180 Uh, um, me being a womanizer, 802 00:45:26,200 --> 00:45:28,240 being with all these women and stuff like this. 803 00:45:29,021 --> 00:45:31,060 And I think that, uh, the real truth 804 00:45:31,080 --> 00:45:35,240 is that she was trying to be something that she wasn't. 805 00:45:36,021 --> 00:45:38,200 She was-- Wait a minute, I wanna clarify this. 806 00:45:38,220 --> 00:45:43,131 She was trying to be what she thought I wanted. 807 00:45:43,151 --> 00:45:45,151 Not what she-- what really was. 808 00:45:45,171 --> 00:45:48,120 She was trying to please me, and so therefore, 809 00:45:48,140 --> 00:45:50,031 she was going through a lot of hurt 810 00:45:50,051 --> 00:45:52,191 and I think she had a very unhappy life because of that. 811 00:45:52,211 --> 00:45:54,111 I think we were living a lie, 812 00:45:54,131 --> 00:45:58,021 and, uh, if I'd have used my head any at all, 813 00:45:58,040 --> 00:46:00,060 I would've known better. 814 00:46:00,080 --> 00:46:04,151 And so this is what led to our, um, downfall. 815 00:46:06,251 --> 00:46:10,151 ♪ (SOMBER MUSIC PLAYING) ♪ 816 00:46:13,191 --> 00:46:16,091 ARRINGTON: (ARCHIVAL) 817 00:46:24,100 --> 00:46:26,051 TINA: 818 00:46:32,071 --> 00:46:34,180 (INDISTINCT CHATTER) 819 00:46:54,031 --> 00:46:55,031 ARRINGTON: Mm-hmm. 820 00:46:55,051 --> 00:46:56,180 TINA: (ARCHIVAL) 821 00:47:01,211 --> 00:47:03,111 (LAUGHS) 822 00:47:07,051 --> 00:47:10,071 TINA: (PRESENT) Buddhism was a way out. 823 00:47:11,071 --> 00:47:13,240 And it changed your attitude towards 824 00:47:14,021 --> 00:47:15,151 the situation that you're in. 825 00:47:15,171 --> 00:47:17,240 The more you chant, the more, you know, 826 00:47:18,021 --> 00:47:20,171 you become liberated mentally. 827 00:47:21,140 --> 00:47:24,200 TINA: (ARCHIVAL) 828 00:47:31,021 --> 00:47:33,240 (CHANTING) Nam myoho renge kyo, nam myoho renge kyo, 829 00:47:34,021 --> 00:47:36,171 nam myoho renge kyo, nam myoho renge kyo, 830 00:47:36,191 --> 00:47:39,131 nam myoho renge kyo, nam myoho renge kyo, 831 00:47:39,151 --> 00:47:42,111 nam myoho renge kyo, nam myoho renge kyo, 832 00:47:42,131 --> 00:47:45,071 nam myoho renge kyo, nam myoho renge kyo, 833 00:47:45,091 --> 00:47:48,100 nam myoho renge kyo, nam myoho renge kyo... 834 00:47:57,180 --> 00:47:59,060 (CONTINUES CHANTING) 835 00:47:59,080 --> 00:48:01,021 -(CHEERING) -(CONTINUES CHANTING) 836 00:48:01,040 --> 00:48:03,060 -(LAUGHTER) -(CONTINUES CHANTING) 837 00:48:03,080 --> 00:48:05,031 -(INDISTINCT CHATTER) -(CONTINUES CHANTING) 838 00:48:06,120 --> 00:48:09,231 TINA: 839 00:48:11,151 --> 00:48:12,191 (CHANTING STOPS) 840 00:48:12,211 --> 00:48:17,140 (SINGING) ♪ Yo ♪ 841 00:48:17,160 --> 00:48:20,160 CROWD: (SINGING) ♪ Yo ♪ 842 00:48:20,180 --> 00:48:22,220 TINA: 843 00:48:27,051 --> 00:48:31,131 (SINGING) ♪ Yo, ha-yo Hey! ♪ 844 00:48:32,080 --> 00:48:33,231 CROWD: (SINGING) ♪ Yo ♪ 845 00:48:33,251 --> 00:48:36,120 (CHANTING RESUMES) 846 00:48:40,051 --> 00:48:43,171 TINA: 847 00:48:45,080 --> 00:48:48,021 (SINGING) ♪ Every woman's Got to be respected ♪ 848 00:48:48,040 --> 00:48:51,031 ♪ Every little girl's Got to have her respect ♪ 849 00:48:52,240 --> 00:48:54,220 FLETCHER: Ike had recognized it too, 850 00:48:54,240 --> 00:48:57,080 that he couldn't control her anymore 851 00:48:57,100 --> 00:49:00,080 because she just wasn't putting up with any of that. 852 00:49:00,100 --> 00:49:02,040 Right now, 853 00:49:02,060 --> 00:49:04,031 I'm gonna talk about respect, 854 00:49:04,200 --> 00:49:06,060 because you see... 855 00:49:07,111 --> 00:49:09,071 respect is what I want. 856 00:49:10,131 --> 00:49:13,051 I think it's what most of us want. 857 00:49:13,071 --> 00:49:15,220 But, you know, we don't always get what we want. 858 00:49:16,140 --> 00:49:18,091 Especially us women. 859 00:49:18,111 --> 00:49:19,211 (AUDIENCE CHEERING) 860 00:49:19,231 --> 00:49:21,211 Tonight, I'm gonna speak for us women, you see, 861 00:49:21,231 --> 00:49:25,180 because somehow, the men 862 00:49:25,200 --> 00:49:28,191 always manage to get what they want. 863 00:49:29,111 --> 00:49:31,071 That's right. 864 00:49:31,091 --> 00:49:32,180 They do what they wanna do 865 00:49:33,231 --> 00:49:35,151 whenever they want to do it. 866 00:49:36,051 --> 00:49:38,031 And you know what? 867 00:49:38,051 --> 00:49:41,071 They do it with whoever they want to do it with. 868 00:49:42,091 --> 00:49:44,040 But that's just started us women to thinking. 869 00:49:44,220 --> 00:49:46,180 Yeah, we can think too. 870 00:49:46,200 --> 00:49:50,040 We think that whatever's out there in the streets 871 00:49:50,200 --> 00:49:52,220 must be good. 872 00:49:52,240 --> 00:49:56,140 'Cause your man's been out there a long time. 873 00:49:56,160 --> 00:49:59,151 Now us women wants to go out there and get us some too. 874 00:49:59,171 --> 00:50:00,220 (LAUGHS) 875 00:50:00,240 --> 00:50:02,100 I want you to... 876 00:50:02,120 --> 00:50:04,040 (SINGING) ♪ To get together ♪ 877 00:50:04,060 --> 00:50:06,200 ♪ I want you to try to feel it ♪ 878 00:50:06,220 --> 00:50:08,111 ♪ Try to feel it ♪ 879 00:50:08,131 --> 00:50:11,200 ♪ And I want everybody To do a soul clap ♪ 880 00:50:11,220 --> 00:50:13,021 ♪ Clap your hands ♪ 881 00:50:13,160 --> 00:50:14,220 ♪ Clap, clap ♪ 882 00:50:15,111 --> 00:50:16,211 ♪ Clap, clap ♪ 883 00:50:16,231 --> 00:50:18,231 ♪ Clap your hands, everybody ♪ 884 00:50:25,100 --> 00:50:27,151 ♪ Show some respect ♪ 885 00:50:27,171 --> 00:50:30,131 ♪ Just give me Just give me respect ♪ 886 00:50:30,151 --> 00:50:31,251 ♪ Just give me ♪ 887 00:50:34,200 --> 00:50:36,140 ♪ Just give me respect ♪ 888 00:50:36,160 --> 00:50:38,111 -♪ Just give me ♪ -TINA: ♪ Got to have ♪ 889 00:50:38,131 --> 00:50:40,031 -♪ Just give me ♪ -♪ Come on ♪ 890 00:50:40,051 --> 00:50:42,021 -♪ Just give me ♪ -♪ Got to have ♪ 891 00:50:43,231 --> 00:50:44,240 ♪ Oh, yeah... ♪ 892 00:50:45,180 --> 00:50:47,071 ♪ (MUSIC FADES) ♪ 893 00:50:47,091 --> 00:50:49,071 TINA: 894 00:50:53,080 --> 00:50:56,231 ARRINGTON: (ARCHIVAL) 895 00:50:58,071 --> 00:51:00,220 TINA: 896 00:51:05,111 --> 00:51:07,111 ♪ (SOMBER MUSIC PLAYING) ♪ 897 00:51:14,231 --> 00:51:16,080 IKE: Okay, okay. 898 00:51:16,100 --> 00:51:17,171 TINA: 899 00:52:00,191 --> 00:52:02,240 ♪ (DRAMATIC MUSIC PLAYING) 900 00:52:21,191 --> 00:52:23,120 ♪ (MUSIC QUIETS) ♪ 901 00:52:56,220 --> 00:52:59,111 ♪ (DRAMATIC MUSIC CONTINUES) ♪ 902 00:53:17,211 --> 00:53:19,191 (CAR ENGINES RUMBLING) 903 00:53:19,211 --> 00:53:21,051 ♪ (MUSIC STOPS) ♪ 904 00:53:21,071 --> 00:53:24,040 The memory of that was horrendous, of course, 905 00:53:24,060 --> 00:53:27,060 because I was practically run over by a truck. 906 00:53:27,080 --> 00:53:28,191 I didn't-- I didn't-- 907 00:53:28,211 --> 00:53:30,111 Well, I wasn't thinking clearly, of course. 908 00:53:30,131 --> 00:53:34,021 And so I thought at that point was a time when I could cross. 909 00:53:34,040 --> 00:53:37,080 But, you know, I felt like I was moving slow. 910 00:53:37,100 --> 00:53:38,191 And there was that big truck, 911 00:53:38,211 --> 00:53:40,100 really one of the big ones coming, 912 00:53:40,120 --> 00:53:43,131 and the horn blew and... (IMITATES HORN BLARING) 913 00:53:43,151 --> 00:53:49,080 And what I mostly remember is flashing lights. 914 00:53:49,100 --> 00:53:51,211 -♪ (MUSIC RESUMES) ♪ -(HORN BLARES) 915 00:53:58,131 --> 00:54:00,021 (ENGINES RUMBLING) 916 00:54:03,040 --> 00:54:05,120 ♪ (MUSIC CONTINUES) ♪ 917 00:54:07,220 --> 00:54:09,171 (TRUCK HORN BLARES) 918 00:54:22,240 --> 00:54:25,171 ♪ (MUSIC FADES) ♪ 919 00:54:28,160 --> 00:54:30,200 (CRICKETS CHIRPING) 920 00:54:33,140 --> 00:54:35,120 TINA: (ARCHIVAL) 921 00:55:18,191 --> 00:55:22,091 ♪ (DRAMATIC MUSIC PLAYING) ♪ 922 00:55:23,200 --> 00:55:25,251 The next day, it was the Fourth of July, 923 00:55:26,031 --> 00:55:27,200 and I said, "Well, the Fourth of July," 924 00:55:27,220 --> 00:55:29,040 but I'll remember every time, 925 00:55:29,060 --> 00:55:32,120 "Oh, Fourth of July, that's when I got my freedom." 926 00:55:33,160 --> 00:55:35,160 ♪ (MUSIC CONTINUES) ♪ 927 00:55:38,131 --> 00:55:41,100 (FIREWORKS POPPING) 928 00:56:06,140 --> 00:56:08,140 ♪ (MUSIC CONCLUDES) ♪ 929 00:56:08,160 --> 00:56:12,080 TINA: (PRESENT) The divorce was... clean-cut. 930 00:56:12,100 --> 00:56:16,040 I got nothing. No money, no house, no car. 931 00:56:16,200 --> 00:56:20,071 ARRINGTON: (ARCHIVAL) 932 00:56:20,091 --> 00:56:22,031 TINA: (ARCHIVAL) 933 00:56:25,031 --> 00:56:27,080 ARRINGTON: 934 00:56:27,100 --> 00:56:29,131 TINA: 935 00:56:36,151 --> 00:56:37,180 ARRINGTON: Mm-hmm. 936 00:56:38,251 --> 00:56:40,251 TINA: 937 00:56:45,131 --> 00:56:48,171 TINA: (PRESENT) That is when I realized that I could use Tina 938 00:56:48,191 --> 00:56:52,140 to become a business. 939 00:56:54,080 --> 00:56:56,151 And so I said, "I'll just take my name." 940 00:56:59,040 --> 00:57:00,080 Ike fought a little bit 941 00:57:00,100 --> 00:57:03,031 because he knew what I would do with it, 942 00:57:03,051 --> 00:57:07,021 and it was through court that I got it, Tina. 943 00:57:11,160 --> 00:57:14,220 HALL: To keep it... is to reclaim it. 944 00:57:14,240 --> 00:57:17,040 Reshape it, refine it. 945 00:57:19,131 --> 00:57:22,051 Also a kind of like, "fuck you" to Ike. 946 00:57:22,071 --> 00:57:24,200 "Yeah, you gave me this name, 947 00:57:24,220 --> 00:57:27,051 but watch what I build with it." 948 00:57:27,071 --> 00:57:30,200 ♪ ("ROOT, TOOT, UNDISPUTABLE ROCK 'N' ROLLER" BY TINA TURNER PLAYING) ♪ 949 00:57:35,160 --> 00:57:38,071 ♪ When you walk into the bar ♪ 950 00:57:38,091 --> 00:57:41,060 ♪ I'm the first one You're gonna see ♪ 951 00:57:42,180 --> 00:57:45,080 ♪ Business and pleasure Just don't mix ♪ 952 00:57:45,100 --> 00:57:48,051 ♪ So can I take Your order please? ♪ 953 00:57:49,220 --> 00:57:52,111 ♪ You fellas know I don't take no mess ♪ 954 00:57:52,131 --> 00:57:57,231 ♪ It's a whole lotta woman In this dress ♪ 955 00:57:57,251 --> 00:58:03,231 ♪ Oh, they call me Root toot undisputable ♪ 956 00:58:03,251 --> 00:58:06,140 ♪ Rock and Roller ♪ 957 00:58:06,160 --> 00:58:10,180 ♪ I got a fine fanny But a rough-talking Annie ♪ 958 00:58:10,200 --> 00:58:12,191 ♪ Rock and Roller ♪ 959 00:58:13,211 --> 00:58:15,100 ♪ Ow... ♪ 960 00:58:15,120 --> 00:58:17,060 TINA: (PRESENT) I realized I had to go to work. 961 00:58:17,080 --> 00:58:18,231 I mean, I couldn't just stay there 962 00:58:18,251 --> 00:58:22,060 and wait for what? I had to work. 963 00:58:22,080 --> 00:58:23,140 LODER: After Tina left Ike, 964 00:58:23,160 --> 00:58:25,240 somebody had to pay for all the dates they blew, 965 00:58:26,021 --> 00:58:28,051 and Tina wound up with all the bills, 966 00:58:28,071 --> 00:58:29,191 none of the money. 967 00:58:29,211 --> 00:58:30,240 She would go do Vegas. 968 00:58:31,021 --> 00:58:32,231 She'd go do, like, McDonald's conventions. 969 00:58:32,251 --> 00:58:35,200 She'd play anywhere just to make the money to get by. 970 00:58:35,220 --> 00:58:39,040 TINA: (SINGING) ♪ Everybody Knows to keep it cool... ♪ 971 00:58:39,060 --> 00:58:41,191 GRAAM: Ike wasn't paying anything at that point. 972 00:58:41,211 --> 00:58:45,140 So she's gotta support herself and the kids. 973 00:58:45,160 --> 00:58:48,021 So that's when I started booking television shows. 974 00:58:48,040 --> 00:58:50,151 I mean, we were doing everything from The Brady Bunch... 975 00:58:52,051 --> 00:58:53,211 (SINGING) ♪ Too many nights... ♪ 976 00:58:53,231 --> 00:58:57,021 -GRAAM: ...to Hollywood Squares. -ANNOUNCER 2: ...in The Hollywood Squares! 977 00:58:57,040 --> 00:58:58,251 GRAAM: Whatever TV shows we could get her on, 978 00:58:59,031 --> 00:59:01,031 because that was the only source of income at that point. 979 00:59:01,051 --> 00:59:03,031 PETER MARSHALL: Ike and Tina, where's Ike? 980 00:59:03,051 --> 00:59:06,040 -I don't know. -(LAUGHTER) 981 00:59:06,060 --> 00:59:08,051 MARSHALL: So nice to have you on this show, Tina. 982 00:59:08,071 --> 00:59:09,140 Thank you. 983 00:59:09,160 --> 00:59:12,091 ANNIE BEHRINGER: What I remember is there was always the shadow 984 00:59:12,111 --> 00:59:14,171 of Ike Turner. 985 00:59:14,191 --> 00:59:18,180 It was really hard for her, you know. 986 00:59:18,200 --> 00:59:20,251 Is it all right for me to ask you if you and Ike 987 00:59:21,031 --> 00:59:24,120 are together, or separated, or divorced, or...? 988 00:59:25,071 --> 00:59:26,240 Separated and divorced. (LAUGHS) 989 00:59:27,021 --> 00:59:28,171 INTERVIEWER 7: Separated and divorced? 990 00:59:28,191 --> 00:59:30,051 Yeah. We are divorced. 991 00:59:30,071 --> 00:59:33,040 -INTERVIEWER 7: Yeah, it took a while for you to decide. -Oh, yes. 992 00:59:33,060 --> 00:59:35,160 Well, yes. It was-- I mean, we're family, 993 00:59:35,180 --> 00:59:38,080 -we've been together for, like, 16 years. -INTERVIEWER 7: Yeah. 994 00:59:38,100 --> 00:59:41,040 -Ike and Tina Turner, that-- that was a unit. -Yeah. 995 00:59:41,060 --> 00:59:43,091 They still-- People still call me "Ike and Tina." 996 00:59:43,111 --> 00:59:45,021 -Ike and Tina. (CHUCKLES) -Yeah, they do. 997 00:59:45,040 --> 00:59:47,231 BEHRINGER: He triggered a lot of trauma. 998 00:59:48,180 --> 00:59:50,111 Just the thought of him. 999 00:59:50,131 --> 00:59:52,160 You know, 'cause there was a lot. 1000 00:59:52,180 --> 00:59:55,031 But she's a professional. She'd get on stage, 1001 00:59:55,051 --> 00:59:59,040 you'd never know anything was up. Ever. 1002 00:59:59,060 --> 01:00:01,071 TINA: (ARCHIVAL) Five, six, seven, eight. 1003 01:00:01,091 --> 01:00:04,171 (SINGING) ♪ My head I hear music in-- ♪ 1004 01:00:04,191 --> 01:00:07,060 ♪ I hear music ♪ 1005 01:00:07,080 --> 01:00:13,021 ♪ That lets me know There's a party going down ♪ 1006 01:00:13,040 --> 01:00:16,100 ♪ La-la-la-la La-la-la-la... ♪ 1007 01:00:18,231 --> 01:00:20,151 TINA: (PRESENT) I was-- I was becoming stagnant. 1008 01:00:20,171 --> 01:00:22,091 I knew that there was something else, 1009 01:00:22,111 --> 01:00:24,080 and I realized I wasn't going anywhere. 1010 01:00:24,100 --> 01:00:25,211 I'd be in Las Vegas all my life. 1011 01:00:25,231 --> 01:00:27,111 Five, six, seven, eight, 1012 01:00:27,131 --> 01:00:29,021 change position, two, three four... 1013 01:00:29,040 --> 01:00:31,071 TINA: (PRESENT) I was ready to get out there. 1014 01:00:31,091 --> 01:00:33,040 This is fine, what you've got so far, 1015 01:00:33,060 --> 01:00:35,051 but it's not good enough. 1016 01:00:35,071 --> 01:00:37,211 Well then, the next question is, but you'll have to get 1017 01:00:37,231 --> 01:00:39,100 someone to organize that. 1018 01:00:39,120 --> 01:00:41,191 That is when Roger came into the picture. 1019 01:00:41,211 --> 01:00:43,240 ♪ ("HEARTACHE TONIGHT" BY OLIVIA NEWTON-JOHN PLAYING) ♪ 1020 01:00:44,021 --> 01:00:47,021 (SINGING) ♪ Somebody's Gonna hurt someone ♪ 1021 01:00:48,051 --> 01:00:50,160 ♪ Before the night Is through... ♪ 1022 01:00:52,160 --> 01:00:54,251 ROGER DAVIES: Well, I was working with Olivia Newton-John, 1023 01:00:55,031 --> 01:00:57,131 and we were doing a television special 1024 01:00:57,151 --> 01:00:58,240 called Hollywood Nights. 1025 01:00:59,021 --> 01:01:01,051 And Olivia had this desire 1026 01:01:01,071 --> 01:01:03,131 to have really strong female singers 1027 01:01:03,151 --> 01:01:05,071 back her in one or two songs. 1028 01:01:05,091 --> 01:01:07,140 ♪ If it takes all night ♪ 1029 01:01:07,160 --> 01:01:09,240 DAVIES: We had a list of people we asked, 1030 01:01:10,021 --> 01:01:12,111 Toni Tennille, Captain &Tennille. 1031 01:01:12,131 --> 01:01:14,080 I think Peaches was in it, 1032 01:01:14,100 --> 01:01:18,160 Tina Turner, and that's when I first met Tina. 1033 01:01:18,180 --> 01:01:21,200 (SINGING) ♪ It's gonna be A heartache tonight ♪ 1034 01:01:21,220 --> 01:01:25,080 ♪ A heartache tonight I know ♪ 1035 01:01:25,100 --> 01:01:26,231 ♪ Yes, I know ♪ 1036 01:01:26,251 --> 01:01:29,140 ♪ It's gonna be A heartache tonight... ♪ 1037 01:01:29,160 --> 01:01:31,200 I remember when I walked into Roger's office, 1038 01:01:31,220 --> 01:01:33,071 he looked at me. 1039 01:01:33,091 --> 01:01:34,251 I will never forget that look. 1040 01:01:35,031 --> 01:01:36,231 It was in wonder, like, 1041 01:01:36,251 --> 01:01:39,211 "How old is she? What can I do with her?" 1042 01:01:39,231 --> 01:01:42,021 All of that. And then I said, 1043 01:01:42,040 --> 01:01:44,031 "I simply want a manager. I don't know what to do. 1044 01:01:44,051 --> 01:01:45,251 I need to work, I want to work." 1045 01:01:46,031 --> 01:01:49,151 And then he said, "I need to see what you do." 1046 01:01:49,171 --> 01:01:52,240 And so I said, "Well, I'm opening in San Francisco." 1047 01:01:53,031 --> 01:01:55,111 (SINGING) ♪ Now you've heard my story ♪ 1048 01:01:56,131 --> 01:01:59,160 ♪ You heard Every word I say... ♪ 1049 01:01:59,180 --> 01:02:01,191 DAVIES: They were doing a two-week residency 1050 01:02:01,211 --> 01:02:04,040 at the Fairmont Hotel in San Francisco, 1051 01:02:04,060 --> 01:02:05,080 two shows a night. 1052 01:02:05,100 --> 01:02:07,131 ♪ Fahrenheit or centigrade ♪ 1053 01:02:07,151 --> 01:02:08,240 ♪ They give us fever ♪ 1054 01:02:09,200 --> 01:02:11,251 (AUDIENCE WHOOPS) 1055 01:02:12,031 --> 01:02:13,240 The first show was supper, you know, 1056 01:02:14,021 --> 01:02:16,031 everyone eating dinner, and I'm like going, 1057 01:02:16,051 --> 01:02:17,080 "Christ," you know, this is... 1058 01:02:17,100 --> 01:02:18,200 ♪ Fever ♪ 1059 01:02:18,220 --> 01:02:19,240 DAVIES: It was very cabaret, 1060 01:02:20,021 --> 01:02:21,171 and they did a lot of cover versions. 1061 01:02:21,191 --> 01:02:24,220 I didn't react that excited. (LAUGHS) 1062 01:02:24,240 --> 01:02:27,060 'Cause I didn't think I could do anything with her. 1063 01:02:27,080 --> 01:02:28,211 ♪ Way to burn ♪ 1064 01:02:29,220 --> 01:02:33,021 ♪ What a lovely way to burn ♪ 1065 01:02:33,040 --> 01:02:35,131 ♪ (MUSIC TEMPO SPEEDS UP) ♪ 1066 01:02:36,060 --> 01:02:38,071 (AUDIENCE CHEERING) 1067 01:02:39,240 --> 01:02:41,171 ♪ Burn, baby, burn ♪ 1068 01:02:42,021 --> 01:02:43,060 (SHOUTS) 1069 01:02:43,080 --> 01:02:45,140 ♪ Burn, baby, burn ♪ 1070 01:02:45,160 --> 01:02:47,111 DAVIES: Anyway, we stayed for the second show, 1071 01:02:47,131 --> 01:02:49,220 and the second show, being like a nine o'clock show, 1072 01:02:49,240 --> 01:02:53,031 it was people had some drinks, they were standing on tables 1073 01:02:53,051 --> 01:02:54,220 and Tina was just working the audience. 1074 01:02:54,240 --> 01:02:58,131 And I went, "Wow. What a great live performance." 1075 01:02:58,151 --> 01:03:01,120 ♪ People getting loose now ♪ 1076 01:03:01,140 --> 01:03:04,051 ♪ Getting down on the roof ♪ 1077 01:03:05,160 --> 01:03:07,111 ♪ Folks are screamin' ♪ 1078 01:03:08,211 --> 01:03:10,071 ♪ Out of control... ♪ 1079 01:03:10,091 --> 01:03:12,111 ♪ (SONG FADES) ♪ 1080 01:03:12,131 --> 01:03:15,031 ♪ (DRAMATIC MUSIC PLAYING) ♪ 1081 01:03:17,231 --> 01:03:19,251 DAVIES: You know when you meet an artist 1082 01:03:20,031 --> 01:03:21,151 if they have got something that grabs you, 1083 01:03:21,171 --> 01:03:23,071 and, obviously, it did to me, 1084 01:03:23,091 --> 01:03:25,111 and she was also incredibly determined. 1085 01:03:26,200 --> 01:03:29,140 TINA: (PRESENT) Roger said to me, "What do you want?" 1086 01:03:31,071 --> 01:03:32,111 I had a dream. 1087 01:03:32,131 --> 01:03:35,151 My dream is to be the first Black rock and roll singer 1088 01:03:35,171 --> 01:03:37,200 to pack places, like the Stones 1089 01:03:37,220 --> 01:03:40,140 or those people that are packing those kinds of places, you know? 1090 01:03:40,160 --> 01:03:43,100 DAVIES: "I want to fill the rock stadiums, like Mick and Keith." 1091 01:03:43,120 --> 01:03:45,021 And I said, "Yep, that's what we're gonna do." 1092 01:03:45,040 --> 01:03:46,211 I had no idea if we were gonna do it, 1093 01:03:46,231 --> 01:03:49,171 'cause there weren't any female rock artists 1094 01:03:49,191 --> 01:03:52,021 in the world selling out football stadiums. 1095 01:03:52,040 --> 01:03:53,231 (CHEERING AND APPLAUSE) 1096 01:03:53,251 --> 01:03:56,171 LODER: Tina's problem after leaving the Ike orbit 1097 01:03:56,191 --> 01:03:59,051 was now she's on her own, she's just Tina Turner, 1098 01:03:59,071 --> 01:04:00,131 but who is that? 1099 01:04:02,200 --> 01:04:04,171 She is, by this point, 1100 01:04:04,191 --> 01:04:06,160 older than your average pop stars, 1101 01:04:06,180 --> 01:04:07,240 she's a middle-aged woman. 1102 01:04:08,021 --> 01:04:10,111 Is she R&B, is it-- was it disco? 1103 01:04:10,131 --> 01:04:11,171 Wasn't she doing that recently? 1104 01:04:11,191 --> 01:04:14,211 It was very unclear, her image was unclear. 1105 01:04:14,231 --> 01:04:17,021 DAVIES: When Tina said, "I'd like you to manage me," 1106 01:04:17,040 --> 01:04:18,100 I immediately thought, "Well, 1107 01:04:18,120 --> 01:04:20,031 we've got to get her a record deal, 1108 01:04:20,051 --> 01:04:21,160 we've got to change the image 1109 01:04:21,180 --> 01:04:23,231 so people at record companies know 1110 01:04:23,251 --> 01:04:26,151 that you're not just a Vegas cabaret act. 1111 01:04:26,171 --> 01:04:28,120 We're gonna make it current." 1112 01:04:28,140 --> 01:04:30,251 I said, "We're gonna have to make a rock show." 1113 01:04:31,031 --> 01:04:35,140 ♪ (MUSICAL INSTRUMENTS SOUND CHECKING) ♪ 1114 01:04:37,160 --> 01:04:39,031 TINA: (PRESENT) I was ready for change. 1115 01:04:39,051 --> 01:04:40,220 I was ready for that. 1116 01:04:40,240 --> 01:04:43,191 (CROWD CHEERING) 1117 01:04:43,211 --> 01:04:46,071 TINA: Well, first of all, the long hair was a-- 1118 01:04:46,091 --> 01:04:48,191 a look that I used for Ike and Tina. 1119 01:04:49,111 --> 01:04:50,151 So cut the hair. 1120 01:04:52,021 --> 01:04:54,051 That was a change immediately. 1121 01:04:56,071 --> 01:04:58,200 Then the Bob Mackie clothes went. 1122 01:05:00,180 --> 01:05:02,231 Pulled out some of my rock and roll dresses, 1123 01:05:02,251 --> 01:05:04,060 the shorter ones. 1124 01:05:04,231 --> 01:05:06,040 And I went to work. 1125 01:05:06,060 --> 01:05:07,120 DRUMMER: Five, six, seven, eight! 1126 01:05:07,140 --> 01:05:10,091 ♪ ("FOOLISH BEHAVIOR" BY TINA TURNER PLAYING) ♪ 1127 01:05:11,031 --> 01:05:12,180 PIANIST: Ladies and gentlemen... 1128 01:05:14,111 --> 01:05:15,211 Tina Turner! 1129 01:05:15,231 --> 01:05:17,191 (AUDIENCE CHEERS) 1130 01:05:24,151 --> 01:05:27,021 ♪ Can I introduce myself? ♪ 1131 01:05:27,040 --> 01:05:30,100 ♪ I'm a girl Of financial wealth ♪ 1132 01:05:30,120 --> 01:05:33,160 ♪ Sound in mind Body, soul, and health ♪ 1133 01:05:33,180 --> 01:05:34,191 (GRUNTS) 1134 01:05:34,211 --> 01:05:38,040 ♪ And I wanna kill his wife ♪ 1135 01:05:38,060 --> 01:05:41,060 ♪ I have this urge To take a life... ♪ 1136 01:05:41,080 --> 01:05:42,251 DAVIES: We hired a young band. 1137 01:05:43,031 --> 01:05:44,251 We didn't really have any money, 1138 01:05:45,031 --> 01:05:47,091 so Tina, who had always knew 1139 01:05:47,111 --> 01:05:49,040 what she wanted them to look like, 1140 01:05:49,060 --> 01:05:52,051 said, "We'll put them in black karate suits." 1141 01:05:52,071 --> 01:05:54,051 The band hated them. (CHUCKLES) 1142 01:05:54,071 --> 01:05:56,080 The musicians were like, "Why do we have to wear these?" 1143 01:05:56,100 --> 01:05:58,140 I said, "Well you know, you each get a different color belt." 1144 01:05:58,160 --> 01:06:01,211 BACKING SINGERS: ♪ He'll escape Down into Mexico... ♪ 1145 01:06:01,231 --> 01:06:03,140 TINA: (PRESENT) We looked a little bit shabby, 1146 01:06:03,160 --> 01:06:05,251 but that's what rock and roll is. It's shabby. 1147 01:06:07,091 --> 01:06:09,091 FLETCHER: She wanted two girls, 1148 01:06:09,111 --> 01:06:11,231 to get away, I think, from that Ikette thing. 1149 01:06:11,251 --> 01:06:14,111 TINA: (SINGING) ♪ Should I act Quiet, cold, and deliberate... ♪ 1150 01:06:14,131 --> 01:06:17,091 FLETCHER: She was reinventing herself 1151 01:06:17,111 --> 01:06:18,160 as Tina Turner. 1152 01:06:18,180 --> 01:06:20,120 ♪ And they'll say suicide They won't know who done it... ♪ 1153 01:06:20,140 --> 01:06:22,191 TINA: (PRESENT) That was the beginning of me taking control 1154 01:06:22,211 --> 01:06:24,031 of my performance. 1155 01:06:24,051 --> 01:06:25,140 TINA: (SINGING) ♪ Kill his wife ♪ 1156 01:06:25,160 --> 01:06:26,220 I was my own boss. 1157 01:06:26,240 --> 01:06:29,140 ♪ I really wanna take a life ♪ 1158 01:06:29,160 --> 01:06:33,060 BACKING SINGERS: ♪ He'll escape Down into Mexico ♪ 1159 01:06:33,080 --> 01:06:36,021 ♪ Baby, to Mexico ♪ 1160 01:06:36,040 --> 01:06:37,180 BACKING SINGERS: ♪ Sell the house ♪ 1161 01:06:37,200 --> 01:06:40,131 ♪ And find a nice young girl ♪ 1162 01:06:40,151 --> 01:06:42,251 ♪ Find a nice young girl ♪ 1163 01:06:44,040 --> 01:06:47,060 ♪ Just so life Won't hurt no more ♪ 1164 01:06:50,171 --> 01:06:53,140 ♪ Ooh ♪ 1165 01:06:53,160 --> 01:06:56,040 ♪ Oh yeah, yeah, yeah, Oh yeah, yeah, yeah ♪ 1166 01:06:56,060 --> 01:06:59,051 -♪ (MUSIC CONCLUDES) -(AUDIENCE CHEERING) 1167 01:06:59,071 --> 01:07:01,080 TINA: (ARCHIVAL) So, the minute we changed the show, 1168 01:07:01,100 --> 01:07:03,060 reviews were great, everything was going well. 1169 01:07:03,080 --> 01:07:05,200 And then we started working to try to get a record deal. 1170 01:07:05,220 --> 01:07:08,040 Nobody would touch Tina Turner. 1171 01:07:08,060 --> 01:07:11,220 DAVIES: When I first started trying to look for a deal 1172 01:07:11,240 --> 01:07:13,120 with Tina, 1173 01:07:14,040 --> 01:07:15,091 the general feeling was, 1174 01:07:15,111 --> 01:07:16,191 "Is she still with that guy, Ike?" 1175 01:07:16,211 --> 01:07:18,111 No one had any idea. 1176 01:07:18,131 --> 01:07:21,191 Tina needed to be exposed as, "She's a solo artist, 1177 01:07:21,211 --> 01:07:23,120 she's not associated with Ike." 1178 01:07:24,180 --> 01:07:27,180 TINA: (PRESENT) Roger came to me, asking me 1179 01:07:27,200 --> 01:07:31,051 if I would be willing to give the story to the press, 1180 01:07:31,191 --> 01:07:35,060 and I was afraid to... 1181 01:07:35,080 --> 01:07:39,220 put it out because of what I might receive from Ike. 1182 01:07:42,071 --> 01:07:44,151 TINA: (ARCHIVAL) 1183 01:07:49,021 --> 01:07:51,031 ARRINGTON: (PRESENT) I didn't really know too much 1184 01:07:51,051 --> 01:07:52,220 about the backstory, 1185 01:07:52,240 --> 01:07:55,151 and nobody knew about the traumas 1186 01:07:55,171 --> 01:07:56,220 that she went through. 1187 01:07:56,240 --> 01:08:00,080 You know, I just was looking for a simple comeback story. 1188 01:08:00,100 --> 01:08:01,231 Little did I know, you know, 1189 01:08:01,251 --> 01:08:05,100 there was this whole legend, uh, that came about. 1190 01:08:08,220 --> 01:08:11,040 TINA: (PRESENT) I didn't know what to expect. 1191 01:08:13,071 --> 01:08:16,021 I wanted to stop people from thinking 1192 01:08:16,041 --> 01:08:17,201 that Ike and Tina was so positive. 1193 01:08:17,220 --> 01:08:19,170 I mean, he was-- it was-- 1194 01:08:19,191 --> 01:08:23,021 that we were such a love team, or a great team, 1195 01:08:23,041 --> 01:08:24,231 and it wasn't like that. 1196 01:08:24,250 --> 01:08:29,151 So I thought, if nothing else, at least people would know. 1197 01:08:30,220 --> 01:08:33,050 ♪ (PIANO MUSIC PLAYING) ♪ 1198 01:08:34,050 --> 01:08:35,250 TV ANCHOR 1: Tina Turner is a legend, 1199 01:08:36,031 --> 01:08:37,210 a major influence on rock stars 1200 01:08:37,231 --> 01:08:40,050 like Rod Stewart and Mick Jagger. 1201 01:08:40,071 --> 01:08:42,220 Once, she was teamed with her husband, Ike. 1202 01:08:42,241 --> 01:08:44,021 Now she's on her own, 1203 01:08:44,041 --> 01:08:47,071 trying to establish herself as a star once again. 1204 01:08:47,090 --> 01:08:49,140 TINA: (ARCHIVAL) My life with Ike, it was, uh, 1205 01:08:49,161 --> 01:08:52,071 one that a lot of, maybe, people are familiar with, 1206 01:08:52,090 --> 01:08:54,201 of husbands that is, uh, 1207 01:08:54,220 --> 01:08:57,031 that practice brutality. (LAUGHS) 1208 01:08:57,050 --> 01:08:58,111 -INTERVIEWER 8: Yeah? -Yeah. 1209 01:08:58,130 --> 01:09:01,191 WINFREY: Nobody talked about sexual abuse, 1210 01:09:01,210 --> 01:09:04,201 physical abuse, domestic abuse. 1211 01:09:04,220 --> 01:09:06,060 Abuse, period. 1212 01:09:06,081 --> 01:09:09,231 Our generation is the generation 1213 01:09:09,250 --> 01:09:13,241 that started to break the silence. 1214 01:09:15,121 --> 01:09:19,021 INTERVIEWEE: Tina, she couldn't voice her own opinions. 1215 01:09:19,041 --> 01:09:21,161 Everything that she did was with Ike. 1216 01:09:21,180 --> 01:09:25,060 ARRINGTON: The idea of Tina as a presence on her own 1217 01:09:25,081 --> 01:09:28,180 and having escaped, people loved that story. 1218 01:09:28,201 --> 01:09:33,140 They wanted-- You know, here was somebody to root for. 1219 01:09:33,161 --> 01:09:37,130 DAVIES: Once the word was out, we met a guy called Carter, 1220 01:09:37,151 --> 01:09:40,180 John Carter at Capital who believed in her. 1221 01:09:40,201 --> 01:09:43,191 JOHN CARTER: (ARCHIVAL) I had always been interested in artists 1222 01:09:43,210 --> 01:09:45,231 that no one else was interested in. 1223 01:09:45,250 --> 01:09:48,121 Once a star, always a threat, 1224 01:09:48,140 --> 01:09:50,090 and that's the way I felt about Tina. 1225 01:09:50,111 --> 01:09:52,071 So you play that thing, you're playing that, 1226 01:09:52,090 --> 01:09:53,191 and you're playing the strum under me, 1227 01:09:53,210 --> 01:09:55,100 and we move down stage with that. 1228 01:09:55,121 --> 01:09:57,081 Let's just get that right. That's exactly... 1229 01:09:57,100 --> 01:10:01,210 DAVIES: Carter basically gave us a development deal. 1230 01:10:01,231 --> 01:10:04,050 We tried probably eight or ten tracks, 1231 01:10:04,071 --> 01:10:07,191 still trying to find our way. We never got quite there. 1232 01:10:07,210 --> 01:10:09,121 Stay under me there, but just come down. 1233 01:10:09,140 --> 01:10:11,100 Keep the pulse under me. Don't lose the-- 1234 01:10:11,121 --> 01:10:12,201 CARTER: We record a few things, 1235 01:10:12,220 --> 01:10:16,021 and as much as Roger and I would get enthusiastic 1236 01:10:16,041 --> 01:10:17,241 about a song here and a song there, 1237 01:10:18,021 --> 01:10:21,130 it was never really the body of work that we needed. 1238 01:10:21,151 --> 01:10:23,161 (INDISTINCT CHATTER) 1239 01:10:23,180 --> 01:10:25,041 And then one day, 1240 01:10:25,060 --> 01:10:27,241 Carter rang me up, beside himself, 1241 01:10:28,021 --> 01:10:30,111 because there'd been a change of management 1242 01:10:30,130 --> 01:10:32,060 at Capital Records. 1243 01:10:32,081 --> 01:10:33,170 And they'd been in a meeting, 1244 01:10:33,191 --> 01:10:36,031 and they'd been going through the roster of artists, I guess, 1245 01:10:36,050 --> 01:10:41,081 and the new management didn't want Tina on the label. 1246 01:10:41,100 --> 01:10:43,050 CARTER: The new regime comes in... 1247 01:10:43,071 --> 01:10:46,041 -INTERVIEWER 9: Mm-hmm. -...and like any new regime, 1248 01:10:46,060 --> 01:10:48,121 they've got their own idea about what they wanna do. 1249 01:10:48,140 --> 01:10:51,121 -INTERVIEWER 9: Right. -CARTER: So I flip out, 1250 01:10:51,140 --> 01:10:56,100 I go downstairs, and I said, "Hey, this is my act." 1251 01:10:56,121 --> 01:10:58,201 And the classic quote is, 1252 01:10:58,220 --> 01:11:02,041 "Carter, you signed this old nigger douchebag?" 1253 01:11:02,060 --> 01:11:03,140 INTERVIEWER 9: Whoa. Whoa. 1254 01:11:03,161 --> 01:11:06,180 CARTER: "Yeah, yeah, I did, and I'm really happy about it. 1255 01:11:06,201 --> 01:11:08,151 Now pick up the phone and call Roger Davies." 1256 01:11:08,170 --> 01:11:11,021 -INTERVIEWER 9: Wow. -CARTER: He said, "No fucking way." 1257 01:11:11,041 --> 01:11:13,170 And I get on my knees, and I said, 1258 01:11:13,191 --> 01:11:16,180 "I'm now gonna beg you, and I'm not gonna get up 1259 01:11:16,201 --> 01:11:19,041 until you pick up the phone." 1260 01:11:19,060 --> 01:11:23,090 (LAUGHS) And there was a long stare down, 1261 01:11:23,111 --> 01:11:25,231 -and he picks up the phone. -INTERVIEWER 9: Wow. 1262 01:11:25,250 --> 01:11:29,021 CARTER: Well, he says, "Okay, she's back on the roster." 1263 01:11:29,041 --> 01:11:30,210 -INTERVIEWER 9: Mm-hmm. -"You finish your record, 1264 01:11:30,231 --> 01:11:31,250 but you understand 1265 01:11:32,031 --> 01:11:35,111 that we're gonna do nothing. That's all there is." 1266 01:11:42,210 --> 01:11:45,031 TINA: (ARCHIVAL) 1267 01:12:00,031 --> 01:12:01,140 (LAUGHS) 1268 01:12:02,220 --> 01:12:06,081 ♪ (SOMBER MUSIC PLAYING) ♪ 1269 01:12:07,201 --> 01:12:09,151 TINA: (PRESENT) I was held back... 1270 01:12:10,180 --> 01:12:12,100 for a very long time. 1271 01:12:13,130 --> 01:12:15,090 But I didn't suffer from those things, 1272 01:12:15,111 --> 01:12:17,100 and it's not necessary to suffer about that 1273 01:12:17,121 --> 01:12:20,151 because what can you do about it? You know? 1274 01:12:21,140 --> 01:12:23,100 So I didn't think about those things. 1275 01:12:25,241 --> 01:12:28,050 DAVIES: She always had a belief it was gonna be okay. 1276 01:12:28,071 --> 01:12:32,021 And I think you had to have that belief to get-- keep going. 1277 01:12:37,090 --> 01:12:40,130 Radio, as you know in America, was very categorized. 1278 01:12:40,151 --> 01:12:42,111 And there's pop, and there's R&B, there's urban, 1279 01:12:42,130 --> 01:12:46,021 then there's hot AC, and she wanted to sing rock. 1280 01:12:46,041 --> 01:12:50,121 And that wasn't really what they thought would work. 1281 01:12:50,140 --> 01:12:52,191 And that's when we knew that it had to be England, 1282 01:12:52,210 --> 01:12:55,031 'cause England and Europe got her. 1283 01:12:55,050 --> 01:12:57,250 -♪ (UPLIFTING MUSIC PLAYING) ♪ -(PLANE ENGINE REVVING) 1284 01:13:04,170 --> 01:13:10,050 TINA: (PRESENT) It was London, it was another whole experience 1285 01:13:10,191 --> 01:13:12,090 from America. 1286 01:13:12,111 --> 01:13:14,090 You know, it felt like home. 1287 01:13:14,111 --> 01:13:16,231 It felt so comfortable 1288 01:13:16,250 --> 01:13:18,241 that I could've been there all my life. 1289 01:13:22,031 --> 01:13:25,041 Well I didn't have that many friends in America 1290 01:13:25,060 --> 01:13:27,220 because, of course, Ike, 1291 01:13:27,241 --> 01:13:30,060 and then when I left Ike, 1292 01:13:30,231 --> 01:13:33,231 immediately, I went to work. 1293 01:13:36,111 --> 01:13:38,191 My sons were at home, they were fine. 1294 01:13:40,041 --> 01:13:42,111 My oldest was 28, um... 1295 01:13:42,130 --> 01:13:45,031 my youngest is moving well into his middle twenties, 1296 01:13:45,050 --> 01:13:47,170 so not really kids anymore. 1297 01:13:47,191 --> 01:13:49,250 I left everything and everybody behind. 1298 01:13:50,031 --> 01:13:52,081 I needed every minute of my brain 1299 01:13:52,241 --> 01:13:55,111 to map my life together. 1300 01:13:55,130 --> 01:13:56,241 (SPEAKING INDISTINCTLY) 1301 01:13:57,021 --> 01:13:59,170 HALL: It's almost like she had a coming of age 1302 01:13:59,191 --> 01:14:01,031 at 40 years old. 1303 01:14:01,050 --> 01:14:03,081 The fact that she has this voice, 1304 01:14:03,100 --> 01:14:06,060 this incredible, incredible voice, 1305 01:14:06,081 --> 01:14:09,161 I would say the industry didn't even really know what to do with. 1306 01:14:10,231 --> 01:14:13,060 LODER: Roger could see what could be done 1307 01:14:13,081 --> 01:14:15,050 when other people couldn't imagine 1308 01:14:15,071 --> 01:14:16,140 what it could become. 1309 01:14:16,161 --> 01:14:19,090 Said, "There's this new kind of production technique in England, 1310 01:14:19,111 --> 01:14:20,241 and there are these new people, 1311 01:14:21,021 --> 01:14:22,161 they're getting new sounds, 1312 01:14:22,180 --> 01:14:24,161 and you should be part of that." 1313 01:14:26,161 --> 01:14:28,250 DAVIES: I was collecting songs. I used to carry around 1314 01:14:29,031 --> 01:14:31,081 this leather bag full of cassettes 1315 01:14:31,100 --> 01:14:33,241 and asking a bunch of people and, you know, 1316 01:14:34,021 --> 01:14:36,111 Terry Britten, he was a bit of a hero of mine, 1317 01:14:36,130 --> 01:14:39,191 and he had songs I think might work for Tina. 1318 01:14:39,210 --> 01:14:42,191 -(INDISTINCT CHATTER) -Roger's tea. 1319 01:14:42,210 --> 01:14:45,140 ♪ ("WHAT'S LOVE GOT TO DO WITH IT" BY BUCKS FIZZ PLAYING) ♪ 1320 01:14:45,161 --> 01:14:48,100 "What's Love" is probably the worst demo ever done 1321 01:14:48,121 --> 01:14:51,140 to this date. I mean, there's no-- there's no, uh-- 1322 01:14:51,161 --> 01:14:52,210 (HUMS) ♪ Be-do-be-do ♪ 1323 01:14:52,231 --> 01:14:56,071 Just none of that stuff. Very white, very pop. 1324 01:14:56,231 --> 01:14:59,060 And nothing remotely 1325 01:14:59,081 --> 01:15:00,220 would say Tina Turner. 1326 01:15:00,241 --> 01:15:02,050 ♪ Only logical... ♪ 1327 01:15:02,071 --> 01:15:04,071 TERRY BRITTEN: Originally, it did go to an English band 1328 01:15:04,090 --> 01:15:06,071 called, um, Bucks Fizz. 1329 01:15:06,090 --> 01:15:07,250 They were really popular at the time 1330 01:15:08,031 --> 01:15:10,231 and, uh, I think they actually recorded it. 1331 01:15:10,250 --> 01:15:13,250 ♪ Whoa-oh-oh What's love got to do ♪ 1332 01:15:14,031 --> 01:15:16,111 ♪ Got to do with it? ♪ 1333 01:15:16,130 --> 01:15:20,161 ♪ What's love But a secondhand emotion? ♪ 1334 01:15:20,180 --> 01:15:22,140 -♪ (MUSIC STOPS ABRUPTLY) ♪ -I was convinced. 1335 01:15:22,161 --> 01:15:24,021 I thought "What's Love" was... 1336 01:15:24,250 --> 01:15:26,151 it could be a big song. 1337 01:15:27,081 --> 01:15:29,151 Tina never really liked it. 1338 01:15:29,170 --> 01:15:33,161 (SCOFFS) It was terrible. It was awful. It was... 1339 01:15:33,180 --> 01:15:37,180 I was rock and roll, I was not-- 1340 01:15:37,201 --> 01:15:40,081 That was a-- that was a pop song. 1341 01:15:40,100 --> 01:15:42,111 So Roger says, "All right, all right, all right. 1342 01:15:42,130 --> 01:15:44,031 Just one thing, you've gotta meet Terry Britten, 1343 01:15:44,050 --> 01:15:45,170 you've gotta meet him 'cause he's a great writer, 1344 01:15:45,191 --> 01:15:47,170 and maybe he can make some adjustments or whatever." 1345 01:15:47,191 --> 01:15:48,220 And I went, "All right." 1346 01:15:48,241 --> 01:15:50,210 ♪ (MUSIC PLAYING) ♪ 1347 01:15:50,231 --> 01:15:54,031 We walked in, and I didn't know what to expect at first, 1348 01:15:54,050 --> 01:15:55,250 and Terry was like a little leprechaun. 1349 01:15:56,031 --> 01:15:57,090 I mean, he's very short. 1350 01:15:57,111 --> 01:15:59,170 He was sitting there, and his legs were hanging. (LAUGHS) 1351 01:15:59,191 --> 01:16:03,121 There's just something about his legs hanging that I remember. 1352 01:16:03,140 --> 01:16:05,140 She came in, and immediately, she said, 1353 01:16:05,161 --> 01:16:07,090 "Well, you know I don't like that song, 1354 01:16:07,111 --> 01:16:08,151 and I don't wanna do that song, 1355 01:16:08,170 --> 01:16:10,220 and it's Roger-- Roger that wants me to do it." 1356 01:16:10,241 --> 01:16:13,081 Well, I said, "Well, you know, if it doesn't work out, 1357 01:16:13,100 --> 01:16:15,130 you won't use it, so let's give it a go." 1358 01:16:15,151 --> 01:16:19,081 -(INDISTINCT CHATTER) -♪ (QUIET MUSIC PLAYING) ♪ 1359 01:16:19,100 --> 01:16:21,140 TINA: I had to find a way to sing the song, 1360 01:16:21,161 --> 01:16:24,081 so he would say, uh, "Tina, sing this 1361 01:16:24,100 --> 01:16:25,130 how you would sing it." 1362 01:16:25,151 --> 01:16:29,241 So, okay. Then I applied my heavy voice to it and-- 1363 01:16:30,021 --> 01:16:32,100 (SINGING) ♪ Your hand Makes my pulse react... ♪ 1364 01:16:32,121 --> 01:16:34,090 BRITTEN: She was trying to get her head round it. 1365 01:16:34,111 --> 01:16:36,100 "How's this little... (IMITATES DRUMBEAT) 1366 01:16:36,121 --> 01:16:39,111 ...work?" Sort of thing, and, uh, I said to her, 1367 01:16:39,130 --> 01:16:41,180 "Tina, this is a jog." 1368 01:16:41,201 --> 01:16:44,180 And we both stood and jogged. 1369 01:16:44,201 --> 01:16:46,071 I said-- and-- 1370 01:16:46,090 --> 01:16:48,121 she was singing loud, and I went, "Quieter, quieter." 1371 01:16:48,140 --> 01:16:51,021 She said, "If I go any quieter, I'll be whispering." 1372 01:16:51,041 --> 01:16:54,180 I said, "Yeah, that's it." And we start to jog on this thing, 1373 01:16:54,201 --> 01:16:57,241 and suddenly she went, "I got it, I got it, I got it." 1374 01:16:58,021 --> 01:17:01,180 (SINGING) ♪ Oh, oh, oh, What's love got to do ♪ 1375 01:17:01,201 --> 01:17:03,250 ♪ Got to do with it? ♪ 1376 01:17:04,031 --> 01:17:08,250 ♪ What's love But a secondhand emotion? ♪ 1377 01:17:09,031 --> 01:17:13,090 ♪ What's love got to do Got to do with it? ♪ 1378 01:17:13,111 --> 01:17:18,031 ♪ Who needs a heart When a heart can be broken? ♪ 1379 01:17:18,050 --> 01:17:20,140 BRITTEN: I was stunned afterwards, after the session. 1380 01:17:20,161 --> 01:17:22,090 TINA: ♪ That I'm acting confused... ♪ 1381 01:17:22,111 --> 01:17:24,090 They weren't used to a strong voice 1382 01:17:24,111 --> 01:17:26,021 standing on top of music. 1383 01:17:26,041 --> 01:17:28,111 But I converted it and made it my own. 1384 01:17:28,130 --> 01:17:32,121 ♪ I tend to look dazed I read it someplace ♪ 1385 01:17:32,140 --> 01:17:35,021 ♪ I've got cause to be ♪ 1386 01:17:35,041 --> 01:17:37,180 ♪ There's a name for it... ♪ 1387 01:17:37,201 --> 01:17:38,241 BRITTEN: She said, "You know what? 1388 01:17:39,021 --> 01:17:41,031 People are gonna say this is a Tina Turner song. 1389 01:17:41,050 --> 01:17:43,050 It's not Tina doing a cover. 1390 01:17:44,071 --> 01:17:45,201 This is Tina Turner's song." 1391 01:17:45,220 --> 01:17:47,151 ♪ Whatever the reason ♪ 1392 01:17:47,170 --> 01:17:50,180 ♪ You do it for me Oh, oh, oh ♪ 1393 01:17:50,201 --> 01:17:54,050 ♪ What's love got to do Got to do with it? ♪ 1394 01:17:54,071 --> 01:17:57,100 TINA: (PRESENT) I knocked that album out in two weeks in the studio. 1395 01:17:57,121 --> 01:17:59,191 Done. Finished. 1396 01:17:59,210 --> 01:18:02,071 DAVIES: We just went from studio to studio, 1397 01:18:02,090 --> 01:18:04,071 and, literally, two or three weeks, 1398 01:18:04,090 --> 01:18:05,130 the album was done. 1399 01:18:05,151 --> 01:18:07,241 We turned up with an album that sold 20 million copies. 1400 01:18:08,021 --> 01:18:09,140 TINA: ♪ Can be broken... ♪ 1401 01:18:09,161 --> 01:18:12,140 DAVIES: When the album was out and we were in New York 1402 01:18:12,161 --> 01:18:14,220 at Tower Records doing a record signing, 1403 01:18:14,241 --> 01:18:18,191 and I got the call from our record company 1404 01:18:18,210 --> 01:18:21,201 that it had gone-- "What's Love" had gone to number one on Billboard. 1405 01:18:21,220 --> 01:18:23,031 INTERVIEWER 10: In Tower Records? 1406 01:18:23,050 --> 01:18:24,180 TINA: This was in Tower Records. 1407 01:18:24,201 --> 01:18:26,121 And I just jumped up and I said to everybody, "It's number one!" 1408 01:18:26,140 --> 01:18:28,090 And they all started cheering. It was wonderful. 1409 01:18:28,111 --> 01:18:30,170 INTERVIEWER 10: You know, when you said that, I honestly have to tell you, 1410 01:18:30,191 --> 01:18:32,151 I know it's gonna sound real corny, but I mean it, 1411 01:18:32,170 --> 01:18:34,041 when I saw you say that last night, 1412 01:18:34,060 --> 01:18:37,210 that this went number one today, I just, like, burst into tears 1413 01:18:37,231 --> 01:18:41,170 because, to me, it was like there is some justice after all. 1414 01:18:41,191 --> 01:18:43,060 I don't know if you feel that way about it, 1415 01:18:43,081 --> 01:18:46,050 but it was very moving. (SIGHS) Number one. 1416 01:18:46,201 --> 01:18:48,031 ♪ Oh, oh, oh ♪ 1417 01:18:48,050 --> 01:18:53,041 ♪ What's love got to do Got to do with it? ♪ 1418 01:18:53,060 --> 01:18:57,161 ♪ What's love But a secondhand emotion? ♪ 1419 01:18:57,180 --> 01:19:01,241 ♪ What's love got to do Got to do with it? ♪ 1420 01:19:02,021 --> 01:19:06,161 ♪ Who needs a heart When a heart can be broken? ♪ 1421 01:19:06,180 --> 01:19:09,071 ♪ What's love got to do Got to do... ♪ 1422 01:19:09,090 --> 01:19:11,151 DIANA ROSS: And the record of the year is 1423 01:19:11,170 --> 01:19:14,031 "What's Love Got to Do with It," Tina Turner. 1424 01:19:14,050 --> 01:19:15,220 (CHEERING AND APPLAUSE) 1425 01:19:26,111 --> 01:19:29,060 My goodness. This has been a wonderful evening. 1426 01:19:29,081 --> 01:19:32,081 I'd like to take this award 1427 01:19:32,100 --> 01:19:35,220 and give it to someone that's been wonderful to me 1428 01:19:35,241 --> 01:19:38,161 as a friend, and in business, 1429 01:19:38,180 --> 01:19:42,041 and in many ways, my manager, Roger Davies. 1430 01:19:42,060 --> 01:19:43,241 It's been a wonderful year. 1431 01:19:44,191 --> 01:19:48,130 (CHEERING AND APPLAUSE) 1432 01:19:48,151 --> 01:19:50,081 TINA: (PRESENT) My Private Dancer album, 1433 01:19:50,100 --> 01:19:52,130 no, I don't consider it a comeback album. 1434 01:19:52,151 --> 01:19:54,130 Tina had never arrived. 1435 01:19:54,151 --> 01:19:57,060 It was Tina's debut for the first time, 1436 01:19:57,081 --> 01:19:59,100 and this was my first album. 1437 01:20:00,031 --> 01:20:01,231 ANNOUNCER 3: Tina Turner! 1438 01:20:02,250 --> 01:20:04,231 ANNOUNCER 4: Tina Turner! 1439 01:20:04,250 --> 01:20:07,100 (CHEERING) 1440 01:20:07,121 --> 01:20:09,081 ♪ (INSPIRING MUSIC PLAYING) ♪ 1441 01:20:09,100 --> 01:20:11,071 DAVIES: It reached a stage where, 1442 01:20:11,090 --> 01:20:14,041 after Private Dancer, it was unbelievably big. 1443 01:20:15,090 --> 01:20:17,210 It was a runaway train. 1444 01:20:17,231 --> 01:20:19,180 ANNOUNCER 5: When you're hot, you're hot, 1445 01:20:19,201 --> 01:20:21,170 and this lady is the hottest. 1446 01:20:21,191 --> 01:20:23,210 -Here's... -Tina Turner! 1447 01:20:23,231 --> 01:20:25,161 (CHEERING) 1448 01:20:25,180 --> 01:20:27,060 FAN 1: I had my boyfriend standing in line 1449 01:20:27,081 --> 01:20:28,210 since 3:00 in the morning to get these tickets. 1450 01:20:28,231 --> 01:20:30,161 I said, "That's it, the relationship's over 1451 01:20:30,180 --> 01:20:31,250 unless you get me these tickets." 1452 01:20:32,031 --> 01:20:34,021 And if she isn't sexy, I don't know who is. 1453 01:20:34,041 --> 01:20:36,021 FAN 2: Give our honors to Tina Turner. 1454 01:20:36,041 --> 01:20:37,111 Stupenda, stupenda. 1455 01:20:37,130 --> 01:20:41,031 (SPEAKING ITALIAN) 1456 01:20:41,050 --> 01:20:44,241 (ANNOUNCER 6 SPEAKING GERMAN) ...Tina Turner. 1457 01:20:45,021 --> 01:20:47,121 DAVIES: Um, Private Dancer, I think we ended up doing 1458 01:20:47,140 --> 01:20:49,071 a hundred and fifty concerts. 1459 01:20:51,060 --> 01:20:53,111 And then we went on to break every rule. 1460 01:20:55,111 --> 01:20:59,021 On that album, we did the biggest tour we've ever done. 1461 01:20:59,041 --> 01:21:01,231 We played 230 shows in 18 months, 1462 01:21:01,250 --> 01:21:03,060 everywhere in the world. 1463 01:21:04,151 --> 01:21:06,220 (CROWD CHEERING) 1464 01:21:06,241 --> 01:21:11,111 This 50-year-old woman playing at stadiums throughout Europe 1465 01:21:11,130 --> 01:21:14,180 and having an audience ranging from about 15 to 60 1466 01:21:14,201 --> 01:21:16,140 was pretty amazing. 1467 01:21:16,161 --> 01:21:19,081 -She makes you feel young. She's alive, she's bouncing. -FAN 4: I know, I feel like 1468 01:21:19,100 --> 01:21:22,170 -I'm 20 years younger. -FAN 3: I can't wait for them to come back. 1469 01:21:22,191 --> 01:21:25,191 TINA: (ARCHIVAL) When I'm on stage, and it's like 20,000 people, 1470 01:21:25,210 --> 01:21:27,161 then you know that it's all worthwhile, you know. 1471 01:21:27,180 --> 01:21:30,031 But it's really a lot that goes on behind the scenes 1472 01:21:30,050 --> 01:21:31,151 when you-- I've never been this big before, 1473 01:21:31,170 --> 01:21:34,191 you know what I mean? And you-- Uh, it's just incredible. 1474 01:21:35,191 --> 01:21:37,090 DAVIES: We didn't stop. 1475 01:21:37,111 --> 01:21:40,060 We played the small halls, we played the clubs, 1476 01:21:40,081 --> 01:21:42,081 we did all the TVs, we got to arenas. 1477 01:21:42,100 --> 01:21:44,111 We eventually fulfilled her dream 1478 01:21:44,130 --> 01:21:46,201 and filled the stadiums. 1479 01:21:46,220 --> 01:21:51,050 That concert in Rio was 186,000 people there. 1480 01:21:52,180 --> 01:21:56,121 AUDIENCE: (SHOUTS) Tina! Tina! 1481 01:21:56,140 --> 01:21:58,041 Hello, Rio! 1482 01:21:58,060 --> 01:22:00,151 (CHEERING) 1483 01:22:00,170 --> 01:22:03,140 Give it to me. Hello, Rio! 1484 01:22:03,161 --> 01:22:06,021 (CHEERING AND APPLAUSE) 1485 01:22:06,041 --> 01:22:09,100 (KISSING LIPS) 1486 01:22:09,121 --> 01:22:11,100 TINA: You can't imagine what it was like for me 1487 01:22:11,121 --> 01:22:13,100 to finally to stand there and draw all those people. 1488 01:22:13,121 --> 01:22:15,140 It's a feeling of, like, "I did it," 1489 01:22:15,161 --> 01:22:17,031 and it's really genuine. 1490 01:22:17,050 --> 01:22:20,021 It's-- it is almost like magic, because you're standing there, 1491 01:22:20,041 --> 01:22:22,250 and they're really giving you love. 1492 01:22:23,031 --> 01:22:24,100 TINA: Are you ready? 1493 01:22:24,121 --> 01:22:25,170 (AUDIENCE SCREAMS) 1494 01:22:25,191 --> 01:22:28,060 TINA: Are you ready for me? 1495 01:22:28,081 --> 01:22:30,170 I'm ready for you. Hello. 1496 01:22:30,191 --> 01:22:34,060 ♪ ("I CAN'T STAND THE RAIN" BY TINA TURNER PLAYING) ♪ 1497 01:22:51,170 --> 01:22:55,210 (SINGING) ♪ I can't stand the rain ♪ 1498 01:22:55,231 --> 01:22:57,250 ♪ Against my window ♪ 1499 01:23:00,081 --> 01:23:03,031 ♪ Bringing back sweet memories ♪ 1500 01:23:03,050 --> 01:23:05,231 ♪ I can't stand the rain ♪ 1501 01:23:05,250 --> 01:23:08,021 ♪ Do you remember? ♪ 1502 01:23:08,041 --> 01:23:09,250 ♪ Uh-uh ♪ 1503 01:23:10,031 --> 01:23:12,081 ♪ How sweet it used to be ♪ 1504 01:23:15,220 --> 01:23:18,121 ♪ When we were together ♪ 1505 01:23:20,241 --> 01:23:23,241 ♪ Everything was so grand ♪ 1506 01:23:26,130 --> 01:23:28,250 ♪ Now that we've parted ♪ 1507 01:23:30,090 --> 01:23:32,180 -♪ There's the one sound ♪ -♪ One sound ♪ 1508 01:23:32,201 --> 01:23:34,180 ♪ I just can't stand ♪ 1509 01:23:34,201 --> 01:23:36,180 ♪ I can't stand the rain ♪ 1510 01:23:37,220 --> 01:23:39,111 ♪ Against my window ♪ 1511 01:23:42,060 --> 01:23:44,220 ♪ Bringing back sweet memories ♪ 1512 01:23:44,241 --> 01:23:47,180 ♪ I can't stand the rain ♪ 1513 01:23:48,100 --> 01:23:50,140 ♪ Against my window ♪ 1514 01:23:52,130 --> 01:23:54,241 ♪ 'Cause he ain't here with me ♪ 1515 01:23:55,210 --> 01:23:56,241 ♪ Oh, oh ♪ 1516 01:23:58,090 --> 01:24:01,050 ♪ When we were together ♪ 1517 01:24:03,081 --> 01:24:06,161 ♪ Everything was so grand ♪ 1518 01:24:08,161 --> 01:24:12,201 ♪ Ah, bringing back some Sweet memories ♪ 1519 01:24:12,220 --> 01:24:14,231 -♪ One sound ♪ -BACKING SINGERS: ♪ One sound ♪ 1520 01:24:14,250 --> 01:24:17,100 ♪ I just can't stand ♪ 1521 01:24:17,121 --> 01:24:19,140 -♪ Rain ♪ -♪ Rain ♪ 1522 01:24:20,021 --> 01:24:21,081 ♪ Rain ♪ 1523 01:24:22,151 --> 01:24:24,121 -♪ Rain ♪ -♪ Rain ♪ 1524 01:24:25,071 --> 01:24:27,161 ♪ Rain, whoo! ♪ 1525 01:24:27,180 --> 01:24:30,060 -♪ Yeah ♪ -♪ (SONG CONCLUDES) ♪ 1526 01:24:30,081 --> 01:24:32,191 (CHEERING AND APPLAUSE) 1527 01:24:34,060 --> 01:24:35,201 TINA: Thank you. 1528 01:24:41,100 --> 01:24:43,041 (APPLAUSE FADES) 1529 01:24:43,060 --> 01:24:45,161 (ENGINE REVVING) 1530 01:25:02,130 --> 01:25:04,060 (REVVING STOPS ABRUPTLY) 1531 01:25:07,140 --> 01:25:11,121 LODER: In 1985, she signed on to do the third Mad Max movie, 1532 01:25:11,140 --> 01:25:12,210 Beyond Thunderdome. 1533 01:25:12,231 --> 01:25:14,151 Rolling Stones sent me to cover this. 1534 01:25:14,170 --> 01:25:16,081 Great, I would love to cover this. 1535 01:25:17,090 --> 01:25:19,210 She was the biggest pop star in the world. 1536 01:25:19,231 --> 01:25:22,090 I mean, it was already clear that there were gonna be people 1537 01:25:22,111 --> 01:25:24,050 doing these quickie bios of Tina Turner, 1538 01:25:24,071 --> 01:25:26,060 which I thought was really tacky, so I get over there 1539 01:25:26,081 --> 01:25:28,021 and I talk to Roger, and I said, "You know, 1540 01:25:28,041 --> 01:25:31,100 maybe you should have someone do a book. 1541 01:25:31,121 --> 01:25:33,060 You know, do an actual biography. 1542 01:25:33,081 --> 01:25:35,100 And... could be me. 1543 01:25:35,121 --> 01:25:36,191 I mean, could be anybody, you know. 1544 01:25:36,210 --> 01:25:38,210 -I don't want to be pushy." -PRODUCER: You pitched to them? 1545 01:25:38,231 --> 01:25:41,130 Oh, yeah. Well, I brought up the possibility 1546 01:25:41,151 --> 01:25:43,140 of doing something to forestall 1547 01:25:43,161 --> 01:25:45,161 all these bad books that would be coming out. 1548 01:25:46,130 --> 01:25:49,031 DAVIES: When she became successful, 1549 01:25:49,050 --> 01:25:51,191 the past came up, and it got a lot of press 1550 01:25:51,210 --> 01:25:54,060 'cause she was also hugely popular. 1551 01:25:54,081 --> 01:25:56,210 People continued to ask about Ike, 1552 01:25:56,231 --> 01:25:59,161 even after she had had huge solo success. 1553 01:25:59,180 --> 01:26:01,111 They'd bring up the same old stuff, 1554 01:26:01,130 --> 01:26:03,060 over and over, in every interview. 1555 01:26:03,081 --> 01:26:04,140 We couldn't stop it. 1556 01:26:04,161 --> 01:26:08,161 Ike was, uh, arrested on some cocaine charges in Pasadena. 1557 01:26:08,180 --> 01:26:10,081 -Oh. -INTERVIEWER 11: Yeah, for possession 1558 01:26:10,100 --> 01:26:13,241 and-- and conspiracy, possibly for dealing. 1559 01:26:14,161 --> 01:26:16,161 Any reaction to that? 1560 01:26:16,180 --> 01:26:19,220 I, you know, I'd like to hear all positive things. 1561 01:26:19,241 --> 01:26:21,250 I'd love to hear that Ike had a record deal, 1562 01:26:22,031 --> 01:26:24,201 -and he was producing an album on himself. -INTERVIEWER 11: Yeah. 1563 01:26:25,191 --> 01:26:27,231 TINA: (ARCHIVAL) 1564 01:26:28,250 --> 01:26:30,050 ARRINGTON: Right. 1565 01:26:30,071 --> 01:26:33,050 TINA: 1566 01:26:39,130 --> 01:26:41,241 -ARRINGTON: Mm-hmm. -TINA: 1567 01:26:44,170 --> 01:26:49,021 -ARRINGTON: Yeah. -TINA: 1568 01:26:49,041 --> 01:26:51,140 I think that she said at the time that, "I can do this 1569 01:26:51,161 --> 01:26:52,231 and not talk about it again. 1570 01:26:52,250 --> 01:26:54,060 Everybody's talking about it. 1571 01:26:54,081 --> 01:26:56,050 Everybody has this idea about it, thinks this or that. 1572 01:26:56,071 --> 01:26:58,090 So, I know what happened. I'll say what happened. 1573 01:26:58,111 --> 01:27:00,111 Then I won't have to address it again." 1574 01:27:00,130 --> 01:27:01,140 (INDISTINCT CLAMOR) 1575 01:27:01,161 --> 01:27:03,250 REPORTER: A long line of fans waited outside 1576 01:27:04,031 --> 01:27:06,090 a Barnes and Noble bookstore for Tina. 1577 01:27:06,111 --> 01:27:08,231 The soulful singer is now also an author, 1578 01:27:08,250 --> 01:27:10,170 and she was in town, anxious and willing 1579 01:27:10,191 --> 01:27:12,210 to autograph a few hundred copies. 1580 01:27:12,231 --> 01:27:14,151 FAN 5: It was worth getting sweaty, 1581 01:27:14,170 --> 01:27:15,231 going up there, pushing people, 1582 01:27:15,250 --> 01:27:18,111 getting them out the way, seeing Tina Turner. I love her. 1583 01:27:18,130 --> 01:27:20,021 "What's Love Got to Do with It"? 1584 01:27:20,041 --> 01:27:21,140 TV ANCHOR 2: Tina's book, by the way, 1585 01:27:21,161 --> 01:27:24,081 tracing her rise and fall and rise again, 1586 01:27:24,100 --> 01:27:25,220 is titled I, Tina. 1587 01:27:27,041 --> 01:27:30,031 LODER: It was a top ten New York Times best seller, 1588 01:27:30,050 --> 01:27:31,170 strict because of Tina Turner. 1589 01:27:31,191 --> 01:27:33,060 I mean, they could put an empty book out 1590 01:27:33,081 --> 01:27:36,151 with her picture on the cover, that book would have sold. 1591 01:27:36,170 --> 01:27:40,130 She just felt maybe it will put it to bed 1592 01:27:40,151 --> 01:27:41,250 once and for all. 1593 01:27:42,031 --> 01:27:44,151 Which, of course, it didn't. It just made it bigger. (CHUCKLES) 1594 01:27:44,170 --> 01:27:46,220 RADIO HOST: Albuquerque, New Mexico, hello. 1595 01:27:46,241 --> 01:27:48,060 FAN 6: (ON PHONE) I read your book, 1596 01:27:48,081 --> 01:27:50,180 and it's totally changed my life. 1597 01:27:50,201 --> 01:27:52,151 I love you. I thank you. 1598 01:27:53,241 --> 01:27:56,220 HALL: That story reached so many people 1599 01:27:56,241 --> 01:27:59,231 who felt like they had to kinda keep their secrets 1600 01:27:59,250 --> 01:28:01,180 locked away deep down. 1601 01:28:01,201 --> 01:28:04,050 But then I wonder that thing of, like, 1602 01:28:04,071 --> 01:28:06,121 it's like a Pandora's box situation, right? 1603 01:28:06,140 --> 01:28:08,231 Like, "Damn, I gotta tell this story again?" 1604 01:28:09,241 --> 01:28:13,100 ♪ (INSPIRING MUSIC PLAYING) ♪ 1605 01:28:13,121 --> 01:28:15,250 GRAAM: And then the film came out, 1606 01:28:16,031 --> 01:28:19,250 and just kinda brought more attention to her name, 1607 01:28:20,031 --> 01:28:23,031 for people to see what happened and everything. 1608 01:28:23,050 --> 01:28:25,021 -LAURENCE FISHBURNE: What'd you say? -Don't start with me. 1609 01:28:25,041 --> 01:28:27,021 I ain't in the mood today, all right? 1610 01:28:27,041 --> 01:28:28,250 It's tangible in the sense you're watching it. 1611 01:28:29,031 --> 01:28:30,140 I'll give up all that other stuff, 1612 01:28:30,161 --> 01:28:32,081 but only if I get to keep my name. 1613 01:28:32,100 --> 01:28:35,050 I worked too hard for it, Your Honor. 1614 01:28:35,071 --> 01:28:37,090 GRAAM: That just changed everything for her. 1615 01:28:38,191 --> 01:28:41,210 BASSET: That role changed my life. 1616 01:28:41,231 --> 01:28:46,060 I mean, I'm not Tina, and I've got so much, 1617 01:28:46,081 --> 01:28:48,090 uh, love from others. 1618 01:28:48,111 --> 01:28:50,111 Men, women who have come up and said, 1619 01:28:50,130 --> 01:28:55,071 "You playing her in that story changed my life." 1620 01:28:55,090 --> 01:28:58,090 ARRINGTON: (PRESENT) The story goes out into people's houses, 1621 01:28:58,111 --> 01:29:01,140 and then it becomes a part of their life as well. 1622 01:29:01,161 --> 01:29:03,100 It's Tina Day! 1623 01:29:03,121 --> 01:29:05,201 (CHEERING AND APPLAUSE) 1624 01:29:07,241 --> 01:29:10,111 TINA: (ARCHIVAL) That's hard to wrap your mind around, 1625 01:29:10,130 --> 01:29:12,191 that your life has been an inspiration, 1626 01:29:12,210 --> 01:29:14,111 maybe the worst parts of your life 1627 01:29:14,130 --> 01:29:16,031 has been an inspiration. 1628 01:29:16,050 --> 01:29:17,231 TV HOST: We have 50,000 letters downstairs 1629 01:29:17,250 --> 01:29:21,161 from women who have also been through it and survived. 1630 01:29:21,180 --> 01:29:24,140 Tina did it, so can you, let's celebrate. 1631 01:29:24,161 --> 01:29:27,100 (CHEERING AND APPLAUSE) 1632 01:29:29,021 --> 01:29:31,210 ARRINGTON: She's no longer in control of that story. 1633 01:29:31,231 --> 01:29:33,201 That's what happens to icons. 1634 01:29:35,041 --> 01:29:37,220 Anna Mae Bullock has her own life. 1635 01:29:37,241 --> 01:29:40,130 Tina Turner belongs to the world. 1636 01:29:44,151 --> 01:29:45,250 (CROWD CHEERING) 1637 01:29:50,111 --> 01:29:52,140 (APPLAUSE) 1638 01:29:53,250 --> 01:29:56,121 ♪ (MUSIC FADES) ♪ 1639 01:29:56,140 --> 01:29:58,050 INTERVIEWER 12: Miss Turner, welcome to Venice. 1640 01:29:58,071 --> 01:30:00,090 Can you give me your views on the film? 1641 01:30:01,180 --> 01:30:04,071 Well, I haven't as yet seen the film. 1642 01:30:05,191 --> 01:30:07,201 -INTERVIEWER 13: -(CLEARS THROAT) 1643 01:30:07,220 --> 01:30:14,041 Well, I'm not so thrilled about thinking about the past 1644 01:30:14,060 --> 01:30:18,201 and how I lived my life, it was, uh-- made a story-- 1645 01:30:18,220 --> 01:30:21,050 the story was actually written 1646 01:30:21,071 --> 01:30:24,021 so that I would no longer have to discuss the issue. 1647 01:30:24,041 --> 01:30:27,021 I don't love that it's always talked about, you see. 1648 01:30:27,041 --> 01:30:29,210 I made a point of-- of just putting the news out 1649 01:30:29,231 --> 01:30:31,090 to stop the thing, 1650 01:30:31,111 --> 01:30:33,031 so that I could go on with my life. 1651 01:30:33,050 --> 01:30:36,130 And this constant reminder is not so good. 1652 01:30:36,151 --> 01:30:38,191 You know, I'm not so happy about it. 1653 01:30:38,210 --> 01:30:40,201 So, do I want to sit in a screen 1654 01:30:40,220 --> 01:30:43,130 and watch the violence and all the brutality? 1655 01:30:43,151 --> 01:30:45,151 No. That's why I haven't seen it. 1656 01:30:45,170 --> 01:30:47,210 (APPLAUSE) 1657 01:30:49,250 --> 01:30:52,021 ERWIN BACH: You know, when you talk to journalists 1658 01:30:52,041 --> 01:30:56,100 over and over for 20 or 30 or 40 years, 1659 01:30:56,121 --> 01:30:58,090 memories come back. 1660 01:30:58,111 --> 01:31:00,201 She has partly dreams about it, 1661 01:31:00,220 --> 01:31:02,241 uh, they're not pleasant. 1662 01:31:03,021 --> 01:31:04,151 So I think these are these things 1663 01:31:04,170 --> 01:31:07,201 that come back to her when she opens that book. 1664 01:31:07,220 --> 01:31:11,180 It's like when soldiers come back from the war. 1665 01:31:11,201 --> 01:31:16,121 It's not an easy time to-- to have this in your memory, 1666 01:31:16,140 --> 01:31:20,031 and then try to forget. I see it a little bit like that. 1667 01:31:20,050 --> 01:31:22,250 INTERVIEWER 14: Tina today is a world superstar, um, 1668 01:31:23,031 --> 01:31:25,250 but there was a point where you had to become the Comeback Kid. 1669 01:31:26,191 --> 01:31:27,231 How did you get the strength 1670 01:31:27,250 --> 01:31:29,210 to get out of that situation with Ike? 1671 01:31:29,231 --> 01:31:32,220 Oh, we are going to talk about him, aren't we? 1672 01:31:32,241 --> 01:31:35,140 (LAUGHS) Okay. 1673 01:31:35,161 --> 01:31:40,021 I need my fan now, I just had a flush. (LAUGHS) 1674 01:31:40,041 --> 01:31:41,191 How did I get out of that situation? 1675 01:31:41,210 --> 01:31:44,210 Let me figure out how I can talk about that, two seconds. 1676 01:31:44,231 --> 01:31:46,191 No, no, I know how to get out of it. 1677 01:31:46,210 --> 01:31:49,121 I'm just going to say, um, something. 1678 01:31:49,140 --> 01:31:51,100 Give me two seconds here. 1679 01:31:51,121 --> 01:31:53,191 TINA: (PRESENT) You don't want to think about those times, you know. 1680 01:31:53,210 --> 01:31:56,031 You just want to-- it to just to go away. 1681 01:31:56,050 --> 01:31:57,201 But if you're gonna keep bringing it up, 1682 01:31:57,220 --> 01:32:00,210 the brain is saying, "Oh, you want to remember that." 1683 01:32:00,231 --> 01:32:02,201 ♪ (SOMBER MUSIC PLAYING) ♪ 1684 01:32:02,220 --> 01:32:05,140 That scene comes back. 1685 01:32:05,161 --> 01:32:09,140 You-- you're dreaming. It's-- The real picture is there. 1686 01:32:09,161 --> 01:32:12,090 It's-- it's like a curse. 1687 01:32:15,071 --> 01:32:16,220 INTERVIEWER 15: You raised a son by him, 1688 01:32:16,241 --> 01:32:18,031 a son by another man, 1689 01:32:18,050 --> 01:32:20,130 and two of Ike's kids by other women. 1690 01:32:20,151 --> 01:32:23,090 There were always other women on the scene. 1691 01:32:23,111 --> 01:32:25,050 What was that like for you? 1692 01:32:25,071 --> 01:32:26,250 INTERVIEWER 16: When you were married to Ike, 1693 01:32:27,031 --> 01:32:30,071 what was the absolutely worse moment? 1694 01:32:30,090 --> 01:32:32,250 INTERVIEWER 17: What do you think attracts women to bad men? 1695 01:32:33,031 --> 01:32:34,210 INTERVIEWER 18: Is there a real lowlight? 1696 01:32:34,231 --> 01:32:37,031 Something you'd love to forget? 1697 01:32:37,050 --> 01:32:39,111 INTERVIEWER 19: And of course, the book and the movie features 1698 01:32:39,130 --> 01:32:41,250 your allegations about his bashings. 1699 01:32:42,031 --> 01:32:43,161 Tell me about that? 1700 01:32:43,180 --> 01:32:45,050 TINA: (ARCHIVAL) I'm-- I'm past it. 1701 01:32:45,071 --> 01:32:47,220 It's been 16 years since I haven't been with Ike, 1702 01:32:47,241 --> 01:32:50,140 and the movie and the book is bringing me back to the past, 1703 01:32:50,161 --> 01:32:52,170 of something that was really awful. 1704 01:32:52,191 --> 01:32:54,201 My life is wonderful at the moment. 1705 01:32:54,220 --> 01:32:56,090 I'm a happy person now, 1706 01:32:56,111 --> 01:32:59,041 and I don't dwell on unhappiness. 1707 01:33:04,180 --> 01:33:07,090 TINA: (PRESENT) The trauma is still so deep that to go back there 1708 01:33:07,111 --> 01:33:10,220 makes you feel like you're actually going back. 1709 01:33:12,081 --> 01:33:15,060 If you don't address the wounds of your past, 1710 01:33:15,081 --> 01:33:17,121 you continue to bleed. 1711 01:33:20,231 --> 01:33:22,210 GRAAM: You know, she just-- she always had the feeling 1712 01:33:22,231 --> 01:33:24,121 that she wasn't loved. 1713 01:33:24,140 --> 01:33:28,021 She wasn't, you know, she wasn't a wanted child. 1714 01:33:31,201 --> 01:33:35,041 I think with her mom, I think that's still the-- 1715 01:33:35,060 --> 01:33:38,140 the dramatization of being left as a child, 1716 01:33:38,161 --> 01:33:40,031 that never left. 1717 01:33:42,111 --> 01:33:45,170 ♪ (MUSIC FADES) ♪ 1718 01:33:47,170 --> 01:33:50,170 TINA: (PRESENT) Ma was, uh, not kind. 1719 01:33:52,170 --> 01:33:55,121 When I became a star, of course, back then, 1720 01:33:55,140 --> 01:33:58,090 she was happy because I bought her a house. 1721 01:33:58,111 --> 01:34:01,151 I did all kinds of things for her. She was my mother. 1722 01:34:01,170 --> 01:34:04,041 You know, I was trying to make her comfortable, 1723 01:34:04,060 --> 01:34:07,071 because she didn't have a husband, she was alone. 1724 01:34:07,090 --> 01:34:09,140 But she still didn't like me. 1725 01:34:11,140 --> 01:34:13,191 Even after I became Tina, 1726 01:34:13,210 --> 01:34:15,170 Ma still was a little bit, 1727 01:34:15,191 --> 01:34:17,100 "Who did that?" or "Who did this?" 1728 01:34:17,121 --> 01:34:18,161 And I said, "I did it, Ma." 1729 01:34:18,180 --> 01:34:21,100 You know, I was happy to show my mother what I did. 1730 01:34:21,121 --> 01:34:23,250 I had a house, I had gotten a car, 1731 01:34:24,031 --> 01:34:25,191 and she said, "I don't believe it. 1732 01:34:25,210 --> 01:34:28,111 You're my daughter, I know you didn't--" 1733 01:34:28,130 --> 01:34:30,161 Something to this affect. 1734 01:34:31,210 --> 01:34:33,201 Yeah, she... (SCOFFS) 1735 01:34:35,201 --> 01:34:37,191 She didn't want. She didn't want me, 1736 01:34:37,210 --> 01:34:39,050 she didn't want to be around me, 1737 01:34:39,071 --> 01:34:41,151 even though she wanted my success. 1738 01:34:41,170 --> 01:34:46,071 But I did for her as if she loved me. 1739 01:34:50,100 --> 01:34:53,161 INTERVIEWER 20: She's had a few kind of ups and downs 1740 01:34:53,180 --> 01:34:54,180 in her life as well. 1741 01:34:54,201 --> 01:34:57,031 It hasn't-- it hasn't been all happy. 1742 01:34:57,050 --> 01:34:59,241 -Right. -INTERVIEWER 20: Um... 1743 01:35:00,021 --> 01:35:03,170 When-- when she's unhappy, how-- how does she deal with it? 1744 01:35:07,060 --> 01:35:09,161 I would say she... 1745 01:35:12,250 --> 01:35:16,121 She did a great job of dealing with it, because... 1746 01:35:17,151 --> 01:35:19,161 she would figure out the problem 1747 01:35:19,180 --> 01:35:21,140 and how to handle it. 1748 01:35:24,031 --> 01:35:26,201 INTERVIEWER 20: Would she kind of come running home to you crying? 1749 01:35:26,220 --> 01:35:31,050 No, no, no, no, she figured that out on her own. 1750 01:35:31,071 --> 01:35:34,021 INTERVIEWER 20: Have you had any particularly... 1751 01:35:34,041 --> 01:35:37,081 any particular moments that you were really proud of? 1752 01:35:37,100 --> 01:35:40,031 (CLICKS TONGUE) 1753 01:35:40,050 --> 01:35:43,250 Well, I've been proud of her ever since she started singing. 1754 01:35:45,021 --> 01:35:46,140 But it's like... 1755 01:35:47,220 --> 01:35:52,071 a person-- some people's afraid to climb a ladder 1756 01:35:52,090 --> 01:35:54,071 unless someone's holding it. 1757 01:35:55,060 --> 01:35:56,170 But she's not. 1758 01:35:56,191 --> 01:35:59,031 Once she make that first step on that ladder, 1759 01:35:59,050 --> 01:36:02,191 she keep climbing up, up, up, up. 1760 01:36:03,111 --> 01:36:04,191 She's not afraid. 1761 01:36:05,081 --> 01:36:06,121 She'll try it. 1762 01:36:07,130 --> 01:36:10,021 She's not afraid to try anything. 1763 01:36:15,031 --> 01:36:17,100 LODER: (ARCHIVAL) Do you think that now, after all the-- 1764 01:36:17,121 --> 01:36:19,231 I mean, you've risen to the top of the entertainment field, 1765 01:36:19,250 --> 01:36:21,090 where you've maybe sacrificed love for-- 1766 01:36:21,111 --> 01:36:22,170 -TINA: Rising. -LODER: This is what-- 1767 01:36:22,191 --> 01:36:23,250 This is what readers will say, now. 1768 01:36:24,031 --> 01:36:25,220 "She has no-- she has no love in her life." 1769 01:36:25,241 --> 01:36:28,090 TINA: Oh, Kurt, we're gonna get really heavy now 1770 01:36:28,111 --> 01:36:29,161 because I'm drinking. 1771 01:36:29,180 --> 01:36:31,050 -You're gonna find out. -LODER: Oh, good. (LAUGHS) 1772 01:36:31,071 --> 01:36:35,220 TINA: I have not received love almost ever in my life. 1773 01:36:35,241 --> 01:36:37,090 I did not have it with my mother, 1774 01:36:37,111 --> 01:36:39,111 and my father from the beginning of birth. 1775 01:36:39,130 --> 01:36:40,170 And I survived. 1776 01:36:40,191 --> 01:36:43,041 Why did I get so far without love, Kurt? 1777 01:36:43,060 --> 01:36:45,191 I've never had it. And it-- and if I cry here, 1778 01:36:45,210 --> 01:36:47,031 it doesn't mean that I pity myself, 1779 01:36:47,050 --> 01:36:49,140 it means that tears come with certain memories. 1780 01:36:49,161 --> 01:36:51,021 LODER: No. Tears are not bad. 1781 01:36:51,041 --> 01:36:55,220 TINA: I have had not one love affair 1782 01:36:55,241 --> 01:36:59,151 that was genuine and sustained itself. 1783 01:36:59,170 --> 01:37:01,191 Not one. 1784 01:37:01,210 --> 01:37:03,121 Kurt, I've been through... 1785 01:37:03,140 --> 01:37:05,210 -(FIST THUDS) -...fucking tons of heartbreak. 1786 01:37:05,231 --> 01:37:08,201 I have analyzed it. I said, "What's wrong with me?" 1787 01:37:08,220 --> 01:37:11,161 I've looked in the mirror with myself stripped of makeup 1788 01:37:11,180 --> 01:37:13,100 and without hair. 1789 01:37:13,121 --> 01:37:15,180 (VOICE BREAKS) Why can't someone see the beauty 1790 01:37:15,201 --> 01:37:18,041 in the woman it is that I am? 1791 01:37:18,060 --> 01:37:20,241 Not a goddamn person that found it. 1792 01:37:21,021 --> 01:37:24,151 ♪ (MELANCHOLIC MUSIC PLAYING) ♪ 1793 01:38:24,111 --> 01:38:26,151 (CROWD CHEERING) 1794 01:38:26,170 --> 01:38:29,191 ♪ ("HELP!" BY TINA TURNER PLAYING) ♪ 1795 01:38:41,170 --> 01:38:43,210 (SINGING) ♪ When I was younger ♪ 1796 01:38:43,231 --> 01:38:49,060 ♪ So much younger than today ♪ 1797 01:38:49,081 --> 01:38:56,111 ♪ I never needed anybody's Help in any way ♪ 1798 01:38:57,170 --> 01:39:04,140 ♪ Now those days are gone I'm not so self-assured ♪ 1799 01:39:04,161 --> 01:39:08,081 ♪ Now I find I've changed my mind ♪ 1800 01:39:08,100 --> 01:39:11,241 ♪ And opened up the doors ♪ 1801 01:39:12,021 --> 01:39:17,180 ♪ So help me if you can I'm feeling down ♪ 1802 01:39:19,201 --> 01:39:26,121 ♪ And I do appreciate you Being round ♪ 1803 01:39:27,241 --> 01:39:33,161 ♪ Help me get my feet Back on the ground ♪ 1804 01:39:34,250 --> 01:39:40,201 ♪ Won't you please Please, help me ♪ 1805 01:39:45,060 --> 01:39:52,071 ♪ And now my life has changed In, oh, so many ways ♪ 1806 01:39:52,090 --> 01:39:58,220 ♪ My independence Seems to vanish in the haze ♪ 1807 01:40:00,031 --> 01:40:02,220 ♪ And every now and then ♪ 1808 01:40:02,241 --> 01:40:06,191 ♪ I feel so insecure ♪ 1809 01:40:06,210 --> 01:40:09,241 ♪ I know that I just need you ♪ 1810 01:40:10,021 --> 01:40:14,100 ♪ Like I never did before ♪ 1811 01:40:14,121 --> 01:40:19,161 ♪ Help me if you can I'm feeling down ♪ 1812 01:40:21,191 --> 01:40:28,201 ♪ And I do appreciate you Being round ♪ 1813 01:40:28,220 --> 01:40:35,071 ♪ Oh, help me get my feet Back on the ground ♪ 1814 01:40:37,081 --> 01:40:43,050 ♪ Won't you please Please, help me ♪ 1815 01:40:45,041 --> 01:40:50,231 ♪ Won't you please Please, help me ♪ 1816 01:40:50,250 --> 01:40:52,250 ♪ Oh, yeah ♪ 1817 01:40:53,180 --> 01:41:00,191 ♪ Won't you please... ♪ 1818 01:41:02,111 --> 01:41:05,170 (CHEERING AND APPLAUSE) 1819 01:41:06,231 --> 01:41:13,071 ♪ Won't you please help me ♪ 1820 01:41:15,031 --> 01:41:16,201 ♪ Oh ♪ 1821 01:41:16,220 --> 01:41:18,100 ♪ Help ♪ 1822 01:41:19,021 --> 01:41:21,041 TINA: ♪ Oh, oh, oh ♪ 1823 01:41:21,060 --> 01:41:22,071 ♪ Help ♪ 1824 01:41:23,130 --> 01:41:24,180 ♪ Help ♪ 1825 01:41:27,121 --> 01:41:32,071 ♪ Oh ♪ 1826 01:41:33,210 --> 01:41:36,050 ♪ (SONG CONCLUDES) ♪ 1827 01:41:42,161 --> 01:41:44,170 TINA: (ARCHIVAL) The man that I'm looking for, actually, 1828 01:41:44,191 --> 01:41:46,180 has to be a very strong man, 1829 01:41:46,201 --> 01:41:49,081 to wear, actually, the trousers, 1830 01:41:49,100 --> 01:41:52,100 but yet not to dominate me. 1831 01:41:52,121 --> 01:41:54,050 And that's fair. 1832 01:42:00,121 --> 01:42:02,050 ♪ (QUIET MUSIC PLAYING) ♪ 1833 01:42:02,071 --> 01:42:05,081 -FAN 7: Tina, over here! -(INDISTINCT CLAMOR) 1834 01:42:05,100 --> 01:42:07,100 BACH: We met at a Cologne airport. 1835 01:42:07,121 --> 01:42:09,170 No, actually it was, uh, Düsseldorf Airport. 1836 01:42:09,191 --> 01:42:12,060 And, uh, her manager, Roger, 1837 01:42:12,081 --> 01:42:15,241 asked me to, uh-- to pick up Tina. 1838 01:42:17,111 --> 01:42:19,201 TINA: He was younger. He was 30 years old at the time. 1839 01:42:20,210 --> 01:42:23,090 The prettiest face. I mean, you cannot. 1840 01:42:23,111 --> 01:42:28,071 I said, it was like saying, "Where did he come from?" 1841 01:42:28,090 --> 01:42:30,170 He was really so good looking. 1842 01:42:30,191 --> 01:42:33,220 My heart went, "ba-boomp, bop, bop." 1843 01:42:33,241 --> 01:42:37,071 And it means that a soul has met. 1844 01:42:37,090 --> 01:42:38,241 And my hands were shaking. 1845 01:42:39,021 --> 01:42:43,090 So Roger said to me, "Tina, you ride with Erwin." 1846 01:42:43,111 --> 01:42:46,180 And I-- I wanted to go, "Yay." (LAUGHS) 1847 01:42:46,201 --> 01:42:48,151 (INDISTINCT CHATTER) 1848 01:42:48,170 --> 01:42:53,031 BACH: We enjoyed the ride. I enjoyed driving the artist. 1849 01:42:53,050 --> 01:42:54,170 Actually a superstar for us, 1850 01:42:54,191 --> 01:42:56,241 where you're normally a little nervous, you know. 1851 01:42:57,021 --> 01:42:59,140 But, uh, I wasn't nervous either. 1852 01:42:59,161 --> 01:43:01,201 I was just doing the job. 1853 01:43:03,081 --> 01:43:06,081 TINA: (PRESENT) When he found out that I liked him, 1854 01:43:06,100 --> 01:43:07,201 he came to America. 1855 01:43:07,220 --> 01:43:11,050 We were in Nashville, I think it was, 1856 01:43:11,071 --> 01:43:12,231 and I said to him, 1857 01:43:12,250 --> 01:43:16,140 "When you come to LA, I want you to make love to me." 1858 01:43:17,231 --> 01:43:20,201 But I thought that I could say that 'cause I was a free woman, 1859 01:43:20,220 --> 01:43:23,220 I didn't have a boyfriend. I liked him. 1860 01:43:23,241 --> 01:43:26,090 There was nothing wrong with it, it was just sex. 1861 01:43:26,111 --> 01:43:29,021 And he looked at me as if he doesn't-- 1862 01:43:29,041 --> 01:43:34,121 didn't believe what he was hearing. (LAUGHS) 1863 01:43:34,140 --> 01:43:36,031 I laugh now at the moment, 1864 01:43:36,050 --> 01:43:38,121 because I sometimes get that look 1865 01:43:38,140 --> 01:43:39,220 when I do certain things. 1866 01:43:41,090 --> 01:43:46,191 He was just so, so different. 1867 01:43:46,210 --> 01:43:50,170 So laid back, so comfortable, so unpretentious. 1868 01:43:52,111 --> 01:43:55,041 And that was the beginning of our relationship. 1869 01:43:56,140 --> 01:43:58,151 (CROWD MURMURING) 1870 01:44:05,021 --> 01:44:08,231 TINA: I really needed love. I just needed to love a person. 1871 01:44:12,100 --> 01:44:14,201 How many years later, darling, we got married? 1872 01:44:15,161 --> 01:44:16,231 BACH: Twenty-seven. 1873 01:44:18,050 --> 01:44:21,180 (CHEERING AND APPLAUSE) 1874 01:44:21,201 --> 01:44:26,180 BACH: It's love. It's something we both have for each other. 1875 01:44:26,201 --> 01:44:31,041 I always refer to it as an electrical charge. 1876 01:44:31,060 --> 01:44:32,140 I still have it. 1877 01:44:32,161 --> 01:44:35,060 I still have it and even though when I left her 1878 01:44:35,081 --> 01:44:37,151 two hours ago, three hours ago this morning, 1879 01:44:37,170 --> 01:44:39,111 I still have that feeling. 1880 01:44:39,130 --> 01:44:43,180 That feeling is still with me, and, uh, it's in my heart. 1881 01:44:43,201 --> 01:44:45,121 I feel very warm about this. 1882 01:44:45,140 --> 01:44:48,161 ♪ (PIANO MUSIC PLAYING) ♪ 1883 01:44:57,170 --> 01:45:00,161 (BIRDS SINGING) 1884 01:45:51,191 --> 01:45:54,210 ♪ (MUSIC CONCLUDES) ♪ 1885 01:45:57,140 --> 01:45:58,231 JOURNALIST: First, a minute to remember 1886 01:45:58,250 --> 01:46:00,231 one of the fathers of rock and roll. 1887 01:46:00,250 --> 01:46:04,111 Ike Turner died today at age 76. 1888 01:46:04,130 --> 01:46:06,250 Back in 1951, Turner helped record 1889 01:46:07,031 --> 01:46:09,031 what is one of the first rock and roll records, 1890 01:46:09,050 --> 01:46:12,071 "Rocket 88," with his band, The Kings of Rhythm. 1891 01:46:12,090 --> 01:46:15,021 He may be best known as the abusive ex-husband 1892 01:46:15,041 --> 01:46:17,180 of Tina Turner, with whom he performed for many years. 1893 01:46:17,201 --> 01:46:18,241 After their separation, 1894 01:46:19,021 --> 01:46:20,250 Ike Turner continued to make music. 1895 01:46:21,031 --> 01:46:24,170 In 1991, he was inducted into the Rock & Roll Hall of Fame, 1896 01:46:24,191 --> 01:46:25,201 and earlier this year, 1897 01:46:25,220 --> 01:46:27,220 his record Risin' with the Blues 1898 01:46:27,241 --> 01:46:30,161 won a Grammy for Traditional Blues Album. 1899 01:46:32,081 --> 01:46:34,060 TINA: (PRESENT) For a long time, I did hate Ike, 1900 01:46:34,081 --> 01:46:35,170 I have to say that. 1901 01:46:35,191 --> 01:46:38,170 But then after he died, 1902 01:46:38,191 --> 01:46:41,071 I really realized that he was a sick person. 1903 01:46:41,090 --> 01:46:44,130 He was an ill person at the soul. 1904 01:46:45,180 --> 01:46:48,111 He did get me started, 1905 01:46:48,130 --> 01:46:51,081 and, uh, he was good to me in the beginning. 1906 01:46:51,100 --> 01:46:53,081 So I have some good thoughts. 1907 01:46:55,060 --> 01:46:57,241 Uh, maybe it was a good thing that I met him. 1908 01:46:58,201 --> 01:47:00,071 That, I don't know. 1909 01:47:01,060 --> 01:47:04,121 ♪ (QUIET MUSIC PLAYING) ♪ 1910 01:47:17,081 --> 01:47:21,130 TINA: It hurts to have to remember those times. 1911 01:47:25,130 --> 01:47:30,021 But at a certain stage, forgiveness takes over. 1912 01:47:31,231 --> 01:47:34,140 Forgiving means not to hold on. 1913 01:47:35,191 --> 01:47:37,081 You let it go, 1914 01:47:37,100 --> 01:47:39,161 because it only hurts you. 1915 01:47:39,180 --> 01:47:42,090 Not forgiving, you suffer, 1916 01:47:42,111 --> 01:47:44,191 'cause you think about it over and over again. 1917 01:47:44,210 --> 01:47:46,111 And for what? 1918 01:47:49,060 --> 01:47:51,140 I had an abusive life. 1919 01:47:51,161 --> 01:47:53,140 There's no other way to tell the story. 1920 01:47:53,161 --> 01:47:55,180 It's a reality, it's a truth. 1921 01:47:57,050 --> 01:47:58,100 That's what you've got. 1922 01:47:59,060 --> 01:48:00,191 So you have to accept it. 1923 01:48:02,071 --> 01:48:05,090 ♪ (MUSIC CONTINUES) ♪ 1924 01:48:16,140 --> 01:48:19,151 (INDISTINCT CLAMOR) 1925 01:48:33,111 --> 01:48:34,201 Working it. Working it as always. 1926 01:48:34,220 --> 01:48:35,241 Why thank you, honey. 1927 01:48:36,021 --> 01:48:38,060 Can you tell us what Tina means to you? 1928 01:48:41,241 --> 01:48:43,201 The money shot is coming. 1929 01:48:43,220 --> 01:48:47,041 ♪ (DRAMATIC MUSIC CONTINUES) ♪ 1930 01:48:50,090 --> 01:48:52,191 TINA: Some people say the life that I lived 1931 01:48:52,210 --> 01:48:55,071 and the performances that I gave, 1932 01:48:55,090 --> 01:48:59,231 the appreciation is blasting with the people. 1933 01:49:00,241 --> 01:49:04,121 And yeah, I should be proud of that-- I am-- 1934 01:49:06,210 --> 01:49:08,111 but when do you stop being proud? 1935 01:49:08,130 --> 01:49:09,201 (LAUGHING) I mean, when do you-- 1936 01:49:09,220 --> 01:49:13,090 How do you bow out slowly, 1937 01:49:13,111 --> 01:49:14,180 just go away? 1938 01:49:17,071 --> 01:49:18,130 (SIGHS) 1939 01:49:20,180 --> 01:49:23,071 BACH: She said, "I'm going to America 1940 01:49:23,090 --> 01:49:26,201 and I'm going to say goodbye to my American fans, 1941 01:49:26,220 --> 01:49:29,090 and, uh, I'll wrap it up." 1942 01:49:29,111 --> 01:49:33,060 And I think this documentary here and the play, 1943 01:49:33,241 --> 01:49:35,071 this is it. 1944 01:49:36,210 --> 01:49:39,241 It's a closure, a closure. 1945 01:49:40,241 --> 01:49:45,081 CROWD: (CHANTING) Tina, Tina, Tina! 1946 01:49:45,100 --> 01:49:48,100 (CHEERING) 1947 01:49:49,220 --> 01:49:53,121 (CHANTING CONTINUES) 1948 01:50:03,100 --> 01:50:08,220 What I gleaned from her life was love. 1949 01:50:08,241 --> 01:50:11,111 Love of self, love of her family, 1950 01:50:11,130 --> 01:50:14,090 love of her-- of her talent. 1951 01:50:14,111 --> 01:50:16,050 Love of audiences, 1952 01:50:16,071 --> 01:50:18,130 of music, of freedom. 1953 01:50:25,140 --> 01:50:27,050 But there's a part of her, I guess, 1954 01:50:27,071 --> 01:50:29,100 that we've all laid claim to, 1955 01:50:29,121 --> 01:50:32,151 we've all embraced across the world, 1956 01:50:32,170 --> 01:50:34,140 and I hope she knows that. 1957 01:50:34,161 --> 01:50:37,130 You know, how beloved, how loved she is. 1958 01:50:38,170 --> 01:50:41,060 She is absolutely adored. 1959 01:50:41,250 --> 01:50:45,071 (CHEERING AND APPLAUSE) 1960 01:50:45,090 --> 01:50:49,041 ♪ (INSPIRING MUSIC PLAYING) ♪ 1961 01:51:23,210 --> 01:51:25,241 (CHEERING) 1962 01:52:04,050 --> 01:52:07,100 ♪ (MUSIC CONCLUDES) ♪ 1963 01:52:19,201 --> 01:52:21,241 (CROWD CHEERING) 1964 01:52:22,021 --> 01:52:26,071 ♪ ("SIMPLY THE BEST" BY TINA TURNER PLAYING) ♪ 1965 01:52:39,090 --> 01:52:41,161 (SINGING) ♪ I call you when I need you ♪ 1966 01:52:41,180 --> 01:52:44,041 ♪ My heart's on fire ♪ 1967 01:52:48,090 --> 01:52:52,170 ♪ Come to me Come to me wild and wild ♪ 1968 01:52:55,241 --> 01:52:58,050 ♪ You come to me ♪ 1969 01:52:59,121 --> 01:53:02,250 ♪ Give me everything I need ♪ 1970 01:53:04,231 --> 01:53:07,140 ♪ Give me a lifetime Of promises ♪ 1971 01:53:07,161 --> 01:53:10,021 ♪ And a world of dreams ♪ 1972 01:53:13,161 --> 01:53:18,191 ♪ Speak a language of love Like you know what it means ♪ 1973 01:53:22,060 --> 01:53:25,031 ♪ And it can't be wrong ♪ 1974 01:53:25,050 --> 01:53:29,050 ♪ Take my heart And make it strong, baby ♪ 1975 01:53:30,130 --> 01:53:32,140 ♪ You're simply the best ♪ 1976 01:53:35,041 --> 01:53:37,210 ♪ Better than all the rest ♪ 1977 01:53:39,130 --> 01:53:42,060 ♪ Better than anyone ♪ 1978 01:53:43,121 --> 01:53:46,130 ♪ Anyone I've ever met ♪ 1979 01:53:47,241 --> 01:53:50,170 ♪ I'm stuck on your heart ♪ 1980 01:53:52,050 --> 01:53:55,050 ♪ I hang on every word you say ♪ 1981 01:53:56,140 --> 01:53:59,151 ♪ Tear us apart Oh, no ♪ 1982 01:54:01,060 --> 01:54:04,121 ♪ Baby, I would rather be dead ♪ 1983 01:54:05,231 --> 01:54:10,050 ♪ In your heart I see the start Of every night and every day ♪ 1984 01:54:10,071 --> 01:54:11,210 BACKING SINGERS: ♪ Oh, yeah ♪ 1985 01:54:14,140 --> 01:54:19,071 ♪ In your eyes I get lost I get washed away ♪ 1986 01:54:23,041 --> 01:54:26,161 ♪ Just as long As I'm here in your arms ♪ 1987 01:54:26,180 --> 01:54:30,050 ♪ I could be In no better place ♪ 1988 01:54:31,041 --> 01:54:33,180 ♪ You're simply the best Whoo! ♪ 1989 01:54:35,210 --> 01:54:39,250 ♪ Better than all the rest Whoo! ♪ 1990 01:54:40,031 --> 01:54:43,121 ♪ Better than anyone ♪ 1991 01:54:44,071 --> 01:54:47,241 ♪ Anyone I've ever met ♪ 1992 01:54:48,021 --> 01:54:51,071 ♪ Ooh, I'm stuck on your heart ♪ 1993 01:54:52,231 --> 01:54:56,090 ♪ And I hang on Every word you say ♪ 1994 01:54:57,071 --> 01:55:00,201 ♪ Don't tear us apart, no, no ♪ 1995 01:55:02,041 --> 01:55:05,111 ♪ Baby, I would rather be dead ♪ 1996 01:55:07,090 --> 01:55:11,081 ♪ Each time you leave me I start losing control ♪ 1997 01:55:11,100 --> 01:55:16,100 ♪ You're walking away With my heart and my soul ♪ 1998 01:55:16,121 --> 01:55:20,140 ♪ I can feel you Even when I'm alone ♪ 1999 01:55:20,161 --> 01:55:24,220 ♪ Oh, baby, don't let go ♪ 2000 01:55:24,241 --> 01:55:26,180 ♪ Oh ♪ 2001 01:55:35,121 --> 01:55:40,121 ♪ Oh, oh, oh, oh, oh ♪ 2002 01:55:41,060 --> 01:55:42,180 ♪ You're the best ♪ 2003 01:55:42,201 --> 01:55:44,021 Sing it, everybody! 2004 01:55:45,071 --> 01:55:48,050 ♪ Better than all the rest ♪ 2005 01:55:49,210 --> 01:55:52,161 ♪ Better than anyone ♪ 2006 01:55:53,161 --> 01:55:57,170 ♪ Anyone I've ever met ♪ 2007 01:55:57,191 --> 01:56:01,031 ♪ Ooh, I'm stuck on your heart ♪ 2008 01:56:02,140 --> 01:56:05,151 ♪ I hang on every word you say ♪ 2009 01:56:06,191 --> 01:56:10,140 ♪ Don't tear us apart, no, no ♪ 2010 01:56:11,170 --> 01:56:14,241 ♪ Baby, I would rather be dead ♪ 2011 01:56:15,021 --> 01:56:17,250 ♪ Ooh, you're the best ♪ 2012 01:56:36,201 --> 01:56:39,241 ♪ You're simply the best, yeah ♪ 2013 01:56:41,161 --> 01:56:44,161 ♪ Better than all the rest ♪ 2014 01:56:46,081 --> 01:56:49,090 ♪ Better than anyone ♪ 2015 01:56:50,060 --> 01:56:53,111 ♪ Anyone I've ever met ♪ 2016 01:56:54,090 --> 01:56:57,231 ♪ I'm stuck On your heart, baby ♪ 2017 01:56:58,250 --> 01:57:02,060 ♪ I hang on every word you say ♪ 2018 01:57:03,021 --> 01:57:06,151 ♪ Don't tear us apart, no, no ♪ 2019 01:57:07,250 --> 01:57:11,090 ♪ Baby, I would rather be dead ♪ 2020 01:57:11,111 --> 01:57:13,191 ♪ Ooh, you're the best ♪ 2021 01:57:13,210 --> 01:57:16,170 (CHEERING AND APPLAUSE) 2022 01:57:21,241 --> 01:57:24,130 ♪ (SONG CONCLUDES) ♪ 2023 01:57:25,191 --> 01:57:26,250 TINA: Thank you. 157263