All language subtitles for BBC.Tina.Turner.Simply.the.Best.1080p.HDTV.x265.AAC.MVGroup.org.mkv

# You're simply the best

# Better than all the rest

# Better than anyone

# Anyone I ever met

# I'm stuck on your heart... #

She was born Anna Mae Bullock,
79 years ago in Nutbush, Tennessee,

where she sang in church choirs
and dreamed of being a nurse.

Instead, she became Tina Turner,
one of the most successful

and best-loved performers
of all time.

Her story is well documented,
a tale of triumph over adversity,

perfect for both a Hollywood biopic
and a hit musical,

with incredible highs balanced by
violence, personal tragedy,

and illness.

# I could be in no better place

# You're simply the best

# Better then all the rest... #

Now Tina's bringing
that tale right up to date,

sharing with fans a story of
how it all began

and where she finds herself now.

My life changed.

I had sicknesses, and I moved
from America to Switzerland,

and retirement set in,
and things changed.

I met Tina recently at a hotel
near her home in Switzerland,

to talk about her new autobiography,
called My Love Story.

We started off with a discussion
of the early years and Ike Turner,

who left Tina in a trance
when she first saw him performing

in a St Louis nightclub in 1958.

She went from being one of Ike's
backing singers, to lead singer,

to wife, but the relationship
that set Tina on the path to stardom

also nearly destroyed her.

Till The Right Man Comes Along
by Tina Turner

The creative partnership
that was you and Ike, I mean,

how influential was he on
what you eventually became?

Ike decided what songs
were to be sung onstage,

but I did the choreography
with the dancers.

I organised the dresses
for the dancers and myself.

I had no say other than that.

Ike was trying to get me
then to write songs,

which was very uncomfortable
for me because that takes

another training, to write songs.

And so it stayed like that
for quite a while.

I did my best with the clothes
and with the dancing, but then,

you know, that gets
a little bit old.

And then he went on to trying to
get me to write the songs

and all of that.

It just went from one thing
to the next. Yeah.

Actually, the first song was
A Fool in Love, was the first hit,

and it was written for a male
singer, Art Lassiter, that was

singing with the band at the time.

And so I said to Ike,
like in the musical,

"I know the song. I can sing it."

So he said, "OK, just do the demo",
because he had paid for the studio,

and there was no-one to sing it.

So when I did it... did the song,
recorded the song... he took it

to New York, to Juggy Murray,
Sue Records, and he said,

"Well, why not keep it with
the girl's voice, Ike?

"I like the female voice."

And Ike thought "Ah", I'm sure.
"Good idea."

Then I'll become Ike, and I think
that was how that came about.

A Fool in Love
by Ike and Tina Turner

# Am I a fool
for being in love?

# I want to know

# Hey, hey, hey, hey, hey!

# What does it take
to understand this man?

# Sure enough, I...

# I know I love him,
and I don't know why

# Tell me!

# Why every time he leaves me
I break down and cry

# Listen... #

And did he get a performance
out of you

you didn't know you had in you?
Was he helpful, in that regard?

No, I heard Art sing it,
I knew how it was sung.

I was there.

And it was, like, how do you say it?
A way of life.

The singers around, and everyone,
Ike, was constantly always trying to

get a hit record,
always trying to get...

But he wanted to be apart.

Ike couldn't sing.

He could do it with the music,
make the songwriting,

but to do a performance,
to try to perform,

he couldn't. Yeah.

No, so he created you.

Yes. He created Tina Turner.

Yes, yes. Yeah.

So you were like his muse.

I was. I was his muse.

Yeah.

And that was when he went
to New York for...

...to get the record deal,
and he came back and he says,

"Here's the record."

I said, "Who is Ike and Tina...?"

He says, "You're Tina."

And I didn't know...

And you were Anna Mae at the time?

I'm Anna Mae, little Anna Mae...
anything but Tina.

That was really foreign, and then...

But in those days,
you didn't talk back.

So then I realised,
"OK, so I'm Tina."

Very hard to say that for
a long time, but I became Tina.

# I know it's gonna work out fine

# Everybody!

# I keep a-tellin' ya

# And I can feel it... #

Just a year after that debut single,
Ike and Tina were nominated

for a Grammy Award for the song
It's Gonna Work Out Fine.

The title couldn't have been
further from the truth.

And then a little later,
you got married to Ike.

And just tell me about the wedding
night, because it's unconventional.

Very.

The story is that when Ike
was very young in Mississippi,

he had married a girl,
and he'd never divorced her.

So when River Deep, Mountain High
became a hit,

Ike was afraid that
she would come for money. Ah.

So he asked me to marry, me, so that
he wouldn't have to give her money.

He paid her off, and then that was
it, and the song became huge,

and then I became married.

And then what happened on
the wedding night?

It was really... oh, oh, oh!

Yeah, that was really bad.

When he asked,
"Do you want to marry me?",

I remember when I answered, "Yeah."
You don't ask...

you're not even asked... you don't
ask someone to marry you

in that way, but of course
it was a control...

He was a control freak.

So I got dressed. I knew I didn't
want to marry... I just didn't.

And then we went to Tijuana.

Dusty roads.
Oh, it was really bad then.

And we went into this area...
I'm sure Ike found it.

It was a lot of dirt.
It wasn't clean.

And I was raised a different way
from how Ike was. Ike was...

I have to say,
I think that he was...

You might have another word.

Ike was crooked, from day one
to day two, to the end of one day...

Everything he did was conniving,
and I was different.

I thought the wedding...
I was fairy tale-ish...

I thought, you know, someone would
ask you to marry,

and you'd wear the white dress.

And this was my wedding.
A piece of paper pushed across,

and we signed, and after that,
we went to a brothel

and watched sex.

It was really...

That's even hard
to really think about.

So, as far as I was concerned,
nothing had changed.

I was still with Ike.

I wasn't married, as far as I was
concerned... my thinking.

I was the same, what I was to him,
which was...

He knew already that
I no longer cared about him

and was paranoid about me leaving.

He had already sensed
that I was thinking of leaving.

Hmm.

So that was the beginning
of the end. Yeah.

The beginning of...

...that violence,
and how evil he was.

It was every day, every moment.

Every now and then, it was some fun.

Sometimes it was,
but I don't remember what it was,

but I remember there were days
that were lighter and nicer.

But, mostly, he was just a really...

Always angry with me.

He treated me...

...like I was a prisoner
and he was the guard.

Right, right.

It was always like that.
Terrifying.

# A prisoner of your love

# Entangled in your web

# Hot whispers in the night

# I'm captured by your spell

# Oh, yes, I'm touched by
this show of emotion

# Should I be fractured by
your lack of devotion?

# Should I?

# Should I?

# You better be good to me

# That's how it's gotta be now

# Cos I don't have no use

# For what you loosely call
the truth

# And you better be good to me

# Come on

# Come on, be good to me

# I think it's also right

# That we don't need to fight

# We stand face-to-face

# And you present your case

# Yes, I know you keep telling me
that you love me... #

You say in the book, in 1968,
you tried to take your own life.

Right.

I was terribly unhappy,
extremely unhappy,

continuously, day in, day out.

I didn't have a way out.

I didn't know that the way out
was through the door,

but that didn't come at the time.

I just thought... totally helpless.

Yeah. And when I was really,
really, really fed up,

that's when I just took a chance
and said, "Come what may", and left.

I was just really tired of my life
and the situation I was in with Ike.

And you took, what, 50 pills,
you said?

You know, I didn't count them.

I asked the doctor for
some medicine for something,

and he said, "Well, you only
take these when you're..."

Blah, blah, blah, blah...
whatever that was, he decided...

and I remember I had

gotten some pills for Ike because
from time to time he was sick.

And so I think I made up some kind
of excuse to be able to get

the medicine.
And I just took the pills,

whooped them all down, and by the
time I got to the job, I was...

This was a gig that night?
Yes. Right.

And then the next thing you knew?

I was... I was out. I was...

They were trying
to revive me in the car.

They got to the hospital,
and he said, "No, I can't...

"I'm not getting anything."

I was totally unconscious
from that many pills.

And so they said to Ike...
this is what they said...

they said to Ike,
"We're not getting anything."

He said, "Well, let me talk to her."

And so I don't know what Ike said,
but they said, "Keep talking,

"we're getting a response."

I think I was so fed up with that
life that I would've known his voice

even in the unconscious state.

I don't know what he said.

But they brought me
back to consciousness,

and the next day, when I woke up,
the nurses were saying,

"Sing something for me."

That was to get me functioning.
Right.

And I sung
River Deep, Mountain High.

# When I was a little girl... #

Wow.

And then, that evening,
I woke up and turned my head

and there was Ike.

I turned my head the other way.

No way out.

It was a no-win situation too,
that I didn't know how to leave,

to leave and go to a friend...
I didn't have a friend.

Actually, when I left,
I called a lawyer,

a friend of ours that realised
the situation.

And then he sent money,
and I flew back to California

from Texas, went to
his house, and...

So what changed between Tina Turner
in '68,

who tried to take her own life

because she was trapped
in this abusive relationship,

and Tina Turner a few years later
who was able to go through the door?

What was the difference
in that person?

The mind changed, strength,
believing in myself,

determination... determined
to get away from that,

because that was no life.

Either die, or move on
to whatever is next,

and to believe that there
is something better.

And to believe that there is help
for you, but you have to

believe in yourself, deal with
whatever is thrown at you.

And that meant no money,
no place to live, and so asking

people if you can live with them,
if you can help them,

until a time came where you had to
confront Ike, basically... Yes.

...and that was then when
he found out that I was really

determined to leave.

And he sent the children and all of
that, and he got rolling then.

# There's a pale moon in the sky

# The kind you make your wishes on

# Oh, like the light in your eyes

# The one I built my dreams upon

# It's not there any longer

# Something happened somewhere
and we both know why

# But me, I'm getting stronger

# We must stop pretending

# I can't live this life

# I don't care who's wrong or right

# I don't really want to fight
no more

# Too much talking, babe

# Let's sleep on it tonight

# I don't really want to fight
no more

# This is time for letting go. #

These things, though,
they're insidious,

because it starts off
that he's a gateway into...

Yes... finding your talent,
and he helps you find your talent,

and the abuse only creeps in,
slowly but surely...

Slowly but surely, control.
...and then it's embedded. Yeah.

But I want to go back to
that question of you,

now an experienced person who has
seen and heard all these things.

At what point, if you were advising
young Tina, should you have said

to Ike, "I'm not having it"?

Well, first of all,
she would have had to manage a way

to leave because of his violence...
Yeah.

...which I did try... to leave,
a couple of times, that wasn't

written in the books.

And the first time was
when I had the experience

of being whipped with a wire hanger.

Wow. And then another time
was something else,

and I realised,
"Well, you don't go back."

The experience is once you leave,
don't go back.

River Deep, Mountain High
by Ike and Tina Turner

Someone who had spotted Tina's
problems with Ike before she left

was the legendary producer
Phil Spector,

creator of the famous
"Wall of Sound".

Aware of Ike's controlling
behaviour, Spector actually paid him

to stay away from the recording
sessions for what would become

one of Tina's most enduring hits,
River Deep, Mountain High.

# Oh, how I love you, baby,
baby, baby, baby... #

I mean, Phil Spector, as we now
know, is a fairly strange character,

but what could he do for you,
as a producer?

What Tina Turner did he find?

He wanted me to sing, not deliver.

Ike had me singing... more of
a gospel way...

"When I was a little girl,
I had a rag doll..."

The melody of that song was...

# When I was a little girl... #

Da-do, da-do...

And the production...
the real production of that song...

was what Phil wanted.

And so when I went to actually
audition with Phil, he said,

"No, no, no. Just the melody."

And he would "Dum, dum, dum"
with the piano.

And then I thought,
"Oh, well, that's easy."

You know, I can sing anything
if you tell me how to sing it.

Give me the melody,
which is what I said to Ike often,

but Ike didn't know himself.

That's why he wanted me to do it,
and I wasn't that person,

so the relationship became worse.

Yes, but with Phil Spector,
it worked?

It worked because
I did exactly as I was told.

And, "You know?" "No, I don't
know, you know"... it was simple,

until the day of the studio when
the room was full of all kinds of

musicians, that Wall of Sound...

The famous Wall of Sound.
That famous Wall of Sound.

How you get that is with
the instrument here,

and another kind of instrument,
and four or five instruments...

the room was full of an orchestra!

And never before... you'd never
seen anything like that?

Never. Never.

And when that da-dum, da-dum,
dum, dum... I chill now.

I mean, it was... It was
another feeling to sing to that.

# When I was a little... #

You know, really to sing
into that "da-dum, da-dum..."

I saw exactly what
Phil was producing.

And you're not just a singer in that
context... you're an instrument,

aren't you? That's right.

Yeah. Yeah, actually, yes.

You know, he's just
playing you like...

It was totally two
different ways of singing.

# And it gets stronger in every way

# And it gets deeper, baby,
let me say

# And it gets higher day by day... #

Tina finally divorced Ike in 1978.

She initially struggled to make
an impact as a solo artist,

releasing two albums
that failed to chart at all.

But regular touring meant
she still had a reputation

as one of the most exciting
live performers around.

And she was frequently invited
to perform alongside some of

the biggest names of the day.

# Is it you again,
comin' back for more?

# Oh, yeah

# You can love me tonight
if you want

# But in the morning
you had better get goin'

# I'm talkin' to you
Hot legs, you're wearin' me out

# Hot legs,
make me scream and shout

# Hot legs, are you back at school?

# I love you, honey... #

Tina's return to the charts
came in 1983,

thanks to an unlikely intervention
from the UK

and the '80s electro band Heaven 17.

Two members of the band, Martyn Ware
and Craig Marsh, invited Tina

over to London to sing a version
of the Temptations song,

Ball of Confusion.

When the song became a hit
in Norway, Capitol Records

was impressed enough
to ask for another '70s cover song,

and the result was
Tina's big comeback single,

her version of Al Green's classic,
Let's Stay Together.

# Let's, let's stay together

# Loving you whether, whether

# Times are good or bad,
happy or sad... #

Let's Stay Together reawakened
interest in Tina's career,

and introduced her to a whole
new generation of fans who hadn't

been around in the '60s.

With the follow-up single,
What's Love Got to Do With It,

and the smash hit album
Private Dancer,

the comeback became a coronation.

Tina suddenly found herself
one of the best-selling artists

of the decade, a bigger star
than she'd ever been at home

in America, and especially popular
in the countries across Europe.

# What's love got to do,
got to do with it?

# What's love but
a second-hand emotion?

# What's love got to do,
got to do with it?

# Who needs a heart
when a heart can be broken? #

I was always treated a little bit
different in those other countries

than in America, because in America,
a black singer, R&B singer,

is always a black singer,
R&B singer.

That is what I was in America.

They saw me as an R&B singer,
and that's why

River Deep, Mountain High was not
pop enough to be pop in America

and not black enough to be black,
so it didn't have a home.

So that was the story there.

And why I felt so comfortable
leaving America was because everyone

treated me not as a black person...
they treated me just as a star.

As a rock star?
As a rock star.

Yeah, in Britain,
in Holland, in Germany.

All over.

They welcomed me with open arms.

And I felt really good and welcome.

Yeah. But I had to work other areas,

because America wasn't open arms
to me at first

until I had a huge hit there,
which was Private Dancer.

# I'm your private dancer,
a dancer for money

# I'll do what you want me to do

# I'm your private dancer,
a dancer for money

# And any old music will do... #

The song Private Dancer
was written by Mark Knopfler

of Dire Straits, but given to Tina
because he felt the lyrics

were better suited to a woman.

And he wasn't the only rock star
whose work Tina interpreted.

Bono gave you a song,

and you couldn't find a melody
in that at all.

Bono said... I mean,
when I received GoldenEye...

This is for Bond?

Yeah. I thought... He didn't make
a proper demo, he just...

Someone just threw
the music together,

and he had just written the song.

And when Roger, my manager, said,
"Tina, this is a song...",

he told me it was a big break, so
he said, "It's a little bit rough."

And I thought, "What... how do
I put this together?"

It wasn't showing me
what the melody was.

And so, yeah, I would have to say
I created as close to what I thought

the melody was of that.

It was your melody, not Bono's?
It was my melody.

Close enough that he gave me
a guideline, but not enough to sing,

just to sing it.
I had to work really hard.

And I remember I really closed
myself off... I had just moved here

when that happened...
to really find...

# Goldeneye, no time... #

That part was clear. Right.

But the verses, there was no guide.

He said, and I remember when
he said, "I should have known."

I don't know what he should've
known, except he should've written

the song, actually! But it was...

He was very pleased
with the outcome of it.

He was in the studio when
the song was being recorded and,

yeah, that was another feat.

That was hard.

Yeah, I knew then that I had talent
to sing anything put before me.

You could make it live.

I could make it work. Yeah.

# See reflections on the water

# More than darkness in the depths

# See him surface in every shadow

# On the wind, I feel his breath

# Goldeneye, I found his weakness

# Goldeneye, he'll do what I please

# Goldeneye, no time for sweetness

# But a bitter kiss
will bring him to his knees

# You'll never know how I watched
you from the shadows as a child

# You'll never know how it feels to
be the one who's left behind... #

It was in the mid-80s,
when her career was at its peak,

in music and in Hollywood, that
Tina first encountered Erwin Bach,

the man who has been her partner
for over 30 years,

her husband since 2013,
and who has nursed her through

several illnesses
and saved her life.

Tina was 46 and one of the most
famous women on the planet

at the time.

Erwin was 16 years younger, a German
executive at her record label,

and when they met,
Tina was instantly smitten.

# Feel his presence
in the crowd... #

What actually happened was...
Actually, I was doing a promotion,

and he came to take me to do the
promotion in Germany because I was

coming from another country.

And I just saw him
for the first time.

It was love at first sight.

And my body was reacting to that,
so I was saying to myself,

"Oh, my God, I've met someone, you
know, after all this time and...

"But he's young, and he's
good-looking," and all of that stuff

was going on in the mind,
because when you work as hard

as I was working at that time,
you just think of what's happening

at the moment. Right.

You know, another television show,
another aeroplane... The job.

The job, yes, so that left me...
And I remember when I got

in my room, I was just like...

So something was real about it.

Right. But because
you are so famous,

do you worry about the other side?

You know, do you think,
"Oh, does Erwin mean this?

"Is he feeling the same thing?

"Might he like me
for other reasons?"

No, because actually he wasn't
ready for a relationship.

I was older... first of all,
the record company doesn't allow

their people that work for the
record company to get involved

with the acts.

And so I didn't know that,
but I just thought I was older.

Sometimes I realised
that I was older.

You're 16 years older?

I was 16 years older, yeah,
at the time, but I didn't feel...

I didn't think about age.

I just thought about... "Oh, he
really strikes me some kind of way."

Yeah, a beauty?

A real hunk,
as they call it in America.

No, he was special, and he wasn't
interested in me at all.

He was just a record company
executive.

# Me and my baby
was just getting right

# All systems on overload

# Radio blasting in the front seat

# Turning out the music fine

# And we were snuggled up
in the backseat

# Making up for lost time

# Steamy windows

# Zero visibility

# Steamy windows

# Coming from the body heat

# You can wine and dine
with a man all night

# With good intent

# But there is something about
a confrontation on a back road

# Breaks down the defence

# Steamy windows

# Zero visibility

# Steamy windows

# Coming from the body heat. #

To spin forward, a couple of
decades, and you're getting married.

Beautiful wedding.

Starts actually in this hotel,
and you go back to your house

in Lake Zurich, not far from here,

and then a series
of revelations happen.

You feel a bit weird
on your wedding day.

A bit tired.

I have an old pain... which they
still haven't found out what it is...

in my chest.

I think what it is, it's...

...a cramp, the same one you get
from the fingers and the toes

and the muscle.

And then you had a stroke.

Yeah, it was a stroke
that came, because...

And, actually, why...

The stroke was why?
I don't know why the stroke was.

I think I had overdone something,
some kind of way,

but I went to hospital to find out
what this cramping sensation was,

and they put me on the table
for an MRI, we called it,

and they said the blood pressure
went up.

And I said "Oh, it's always up,"
you know, because I always

had high blood pressure.

And I think that's what caused it,
because afterwards I felt not good.

After the treatment, they were
trying to check me, saying,

"I don't see anything except
the blood pressure went up."

Yeah. And after that, I went
on the honeymoon, didn't come back.

After that, we came back and
we were going to go to another trip,

one of those other trips
with a group of friends,

and I woke up and I said to Erwin,
"I can't go, I can't talk."

Erwin called the doctor and he said,
"Bring her in, give her an aspirin,

"and we'll see."

How scared were you?

Not scared at all.
I just wondered why I couldn't talk.

Oh, right.

I just thought it would've
come back, something, you know.

So he took me in, immediately
they took me in, and say,

"It's a mild stroke
from the back of the head,"

and then they took me down
in the room and I didn't believe it,

and I said, "Oh, stroke, whatever."

Like that.

They left the room.

Blop! I hit the floor.

The whole right side was gone.

Oh, wow.

And I thought, "What have I done?

"I really have had something,
because I can't move."

It took me what really seemed
like an hour to get up,

because then I learned how to get
up, when you're down, and not

holding on to something.

So then when I got up,
I sat in the chair,

and I thought, "Well,
until I learn what this is,

"this stroke that they say
I have... obviously I do..."

And then they started the therapy
of writing with the right hand.

All of that was gone.

So all the right side was gone?

The whole right side,

but the talking was better
than in the morning,

when I...

That went.

But then I had to force,
will myself to walk,

to make the leg walk,
not... like that. Yeah, yeah.

So then I forced...
used all of my willpower.

I wanted to get back like I was.

I didn't believe, you know,
I thought I was the ultimate person

to fix things. Right.

So they said, "Well, how you do
that, don't give into it.

"It'll come back."

It was a mild stroke,
it wasn't a heavy one.

And you were 73 at the time?

At the time, yes.

And did it affect
your singing at all?

Well, I had... Obviously when
you couldn't speak, but once

your speech came back, did your...
Was your voice still there?

You know, actually, I had retired.

I haven't actually
tried to sing since,

but I'm sure I can.

Ah... yes, it's still there.

No, I think I can still sing,
but it does affect the singing,

doesn't it?

I would've thought, yeah.

I would've thought.
I'll have to check that.

Tina, I've never been able to sing.

I was going to ask you next...
can you sing?

No, I think I can sing.

The talking is the same except
I think I don't talk quite as quick.

Right, OK. I spoke quite quickly.

And you can't sign, you say...
you can't autograph now?

Yeah, the handwriting
became better.

I can walk.

Sometimes I feel
something on that side.

You might notice the face
is a bit fuller on that side.

It's where it affected,
mostly this side.

So the face became bigger.

The handwriting...

I corrected all of that.

So, with a little make-up,
you don't notice the face change.

Right. You're supposed to say,
"Yes, Tina, you're right."

You don't! You look fantastic.

What can I tell you? Honestly.

But that's the beginning
of this story.

That was the beginning
of this story.

So it starts with
this high, high moment.

You're in love with this man,
you couldn't believe

it's happened to you, you get
married, you're in your early 70s,

you've stopped showbiz,
you've retired,

you're about to enjoy yourself,
you have a stroke, and then...

So then they said,
"Only one of your kidneys

"are functioning," so I said,
"So what happens?"

He said, "If you don't maintain,
if you don't do what we recommend,

"you will probably die."

So I said, "Well, if it's time." You
know, I felt like... I'm late 70s,

my mother died at 84,
my sister died at 74.

I thought maybe this was my time.

So he said, "No, no, no, no.
We can do something about it."

He said, "There's a machine
downstairs. I said, "Oh, no,

"I'm not living on a machine!"

Dialysis, right?

So we went downstairs... yes,
and there was this machine

standing there, and I realised
that I had to...

I would have to use this machine,
if I decided to live.

And I said, "Oh, no,
I'm not living on a machine.

"That's not a quality of life."

They said, "No, no, no, no, no.

"What it will do is provide you
with a cleanser for the body

"until we find a kidney for you."

Erwin said to the doctors,
"Can I give her one of mine?"

Something similar to this...
I wasn't there.

And then he found out
that he doesn't need two kidneys,

so then he came to me and said,
"Tina, you don't have to make

"this decision now. I can
give you one of my kidneys."

And I said, "Oh, Erwin, you're
young, I'm already older. It's OK.

"You just get used to me
not being here."

Oh, no, he didn't want that.

So then he talked me into him
taking on one kidney.

So I said, "Well, no,
I have to talk to the doctors,"

and then I talked to them about
Erwin and what will happen to him,

because he was still quite young.

And I did feel like I was older,
I was already in my 70s.

So why should I take the kidneys
from a young man and let him

finish his life?

That's what I felt like.

And he said, "No, no, no,
my life is fine how it is.

"I'll give you one of my kidneys."
And so...

# Two people living
on the edge of life

# Are people running out of dreams
and time

# I can hear it when you tell me so

# I can feel it, but I can't let go

# Two people gotta stick together

# And love one another,
save it for a rainy day

# Some people gotta stay whatever

# And give one another shelter
on a rainy day

# Two people living in the way
we do... #

The operation was a success,
allowing Tina to focus

on enjoying her marriage
and her retirement.

But after years of stability,
2018 saw her having to deal

with a parent's worst nightmare.

On July the 3rd, her eldest son
Craig took his own life

at his home in California.

He was 59 years old.

Two weeks later, Tina scattered
Craig's ashes and a single red rose

at sea, off the California coast.

It's very hard to talk about.

I still don't know what took him
to the edge, because I have no idea

what pulled him down except
something that followed him

with loneliness.

I think it was something
with being alone,

but he was an introverted person.
He was very shy.

So I didn't know either, except now
when I listen back to our last

conversations, I notice
a change in his "Hi, dear!"

And I said, "Oh, nobody calls
their mother 'dear'."

You know, whenever he called me.

And the last few times we talked,
he talked, the conversation

was different. And I didn't know
that until after the suicide.

In what way was it different?

No "dear", no "Hi, dear."

You know, "I just want to hear
your voice and that laugh of yours."

After the fact, I thought...

..."Hear your voice?"

He never said that,
and "that laugh of yours." Never.

Just always talked about coming,
coming to see the musical.

I sent him the book and all of that.

Everything was going good for Craig,
every time he called me.

But that last, I would say,
the last two times

that he talked to me,
it was no "Hi, dear," no...

You can tell when the voice is up,
when the voice is down.

Right. The voice was down,
as if he's just relaxed

at his new apartment.

# When we were together

# Everything was so grand

# Now that we've parted

# There's just one sound

# That I just can't stand

# I can't stand the rain

# Against my window

# Bringing back sweet memories

# I can't stand the rain... #

She may seem the epitome
of the feisty all-American lady,

but since the mid-1990s,
Tina's home has been Switzerland.

She's now a fully-fledged European,
giving up her American citizenship

and US passport five years ago
and swapping it for a Swiss one.

So you became a Swiss citizen,

relinquishing your
American citizenship.

And here you are now, in 2018,
looking back at your old country,

at America. What are you seeing?

Difference. It's different than
when I was there.

My attitude about being there is
I had lived there the first 50 years

of my life, and now I'm moving
to another country.

Part of that was because of
my relationship with Erwin.

I have to be careful because there's
a lot going on in America now.

I'm happy I'm not there
because of what is going on.

I like the change in my life.

I like where I am.

America is still home.

Two final and easy questions, Tina.

One, out of your entire canon
of songs, which would you pick

as the one you most
enjoy performing?

My songs?

Because I always covered.

Any song you've ever performed,
the one.

There were quite a few
that I loved that wasn't mine,

because I was accustomed
to covering.

And I heard Palmer, Robert Palmer's
Addicted To Love.

# The lights are on,
but you're not home

# Your mind is not your own

# Your body sweats, your body shakes

# Another kiss is what it takes

# You can't eat,
you can't sleep... #

And of course I changed it...
I changed everything that I covered.

I like that one very much.

It still moves me
when I hear it today.

I played it a bit faster,
I changed some of the lines,

but I made it my own.

Addicted To Love, something was
right about it being my song.

Addicted To Love was...
had a naughty edge to it.

"The lights are on,
but you're not home."

It was... something was just very
right about it every time I sung it.

Of course, I got faster and
faster, because the show was

at an end, and I was tired,

and it was just time
for the climax of the show.

But I always enjoyed it.

I always enjoyed it!

And are you Anna Mae
or are you Tina Turner?

Both.

How do I say both?

Tina Turner is still on stage.

People still see me as Tina.

I will always be Tina to them,
because they only see me on stage.

They're not in my home
and in my private life.

I think even the people
in my private life might see

a little bit of Anna Mae.

So Anna Mae is a quiet,
reclusive type?

A little bit.
Tina Turner is a show-woman.

Less, less than the show-woman.

Much less, I think. OK.

You know what I'm proud of?

Yes, go on.

That, at this age, there's still
something happening with a career.

My music doesn't sound old-style.

There's a musical that's a hit.

So, aside of being really tired
of talking about myself,

I'm really proud of what
my future as a star became.

I feel proud that I hold that
in my hand.

Tina Turner,
thank you very much indeed.

Wonderful. Thank you.

# You're simply the best

# Better than all the rest

# Better than anyone

# Anyone I ever met

# I'm stuck on your heart

# I hang on every word you say

# Tear us apart, no, no

# Baby, I would rather be dead

# Each time you leave me,
I start losing control

# You're walking away
with my heart and my soul

# I can feel you even when I'm alone

# Oh, baby, don't let go

# You're the best

# Better than all the rest

# Better than anyone

# Anyone I ever met

# Ooh, I'm stuck on your heart

# I hang on every word you say

# Oh, tear us apart, no, no

# Baby, I would rather be dead

# Oh, you're the best. #