Well, I guess we have to say something about Tina Turner. It’s hard to do, because so much has already been said about her. Now that the top ranks in news organizations have been taken over by Gen X, the headlines and obits are concentrating on her ’80s period, i.e., post-Ike. That’s a defensible stance; her struggle to leave her abusive ex-husband was the turning point of her life and career, and we’re not supposed to give bad people like Ike Turner credit, even for the good things they did.
But the first time I saw Tina perform she was with Ike, and it left a mark. They were at the Ohio State Fair, we got in early enough to be in the first rows, and their performance was…indelible. (That means “it left a mark,” ha.) This must have been in their career bump after “Proud Mary,” and they performed as Ike and Tina Turner. I remember none of Ike, lurking in the back like the dark presence and bandleader he was. You watched Tina. The three Ikettes stood to Tina’s right, a few feet behind her. But they were all dressed similarly, in short dresses with fringe that never stopped shaking, because they didn’t, either. God knows how Tina could sing as well as she did, moving all the time; she must have had the cardio fitness of a Tour de France stage leader. They did slow songs, but Tina stutter-stepped through those, too, leaving it all on the stage, which was set up on the racetrack where harness races were held, the first rows seated on the track and the rest up in the grandstand. It wasn’t a glamorous venue; the fair director was famous for x-ing out those infamous tour riders that performers insisted on, delivering the same mediocre fair food to all the acts.
I’m sure Tina was used to it. Her memoir — most memoirs of performers of that era — was pretty clear about the tour grind they went through on the way to making the charts. Stage life is difficult, especially when your cheating husband is going through Ikettes like jelly beans, and beating you when you object. And they were black, which meant the chitlin circuit to start, until The Rolling Stones invited them to open in the ’60s, and they started reaching white audiences. It is said that Tina taught Mick Jagger to dance, and I believe it.
If you saw “What’s Love Got to Do With It,” the biopic based on her memoir, you know all this, especially the dramatic split with Ike, where they fought in the back of a limousine in Las Vegas Dallas, she got out at a light left Ike sleeping in their hotel room and walked across the street crossed a busy highway to a Ramada Inn, where she told the manager she had 36 cents in her purse and a Mobil credit card, but would they give her a room anyway? He did, and she stayed at Ramadas for years afterward, mentioning the kindness in interviews whenever she was asked.
So it’s not surprising the interviews will mention the triumphant, you-go-girl part of her career first. I saw the Private Dancer tour in Fort Wayne, the shaggy-wig look, the Auntie Entity persona, and it was excellent. But you never forget your first Tina.
You guys can talk about that Tina if you want, but the record I’ll be playing in my head today is my absolute favorite, the Phil Spector production of “River Deep, Mountain High.” The story goes that Phil agreed to put Ike’s name on the recording, but only if he butted all the way out, and he did. So this is Tina-without-Ike, plus another bad man, but oh well.
One more small thing, no, two: She was really her own woman, embracing Buddhism and practicing it faithfully. And she left behind American racism, moving to Europe decades ago and settling in Switzerland. I always liked that about her, and pictured her hitting her singing bowl and chanting her mantra.
She also had the best single response to a question about whether she’d had plastic surgery, during her comeback. She replied yes, she had, because being beaten by her husband had left facial fractures that affected her breathing. And “I had my breasts put back in place,” she said. Take that, Ed Bradley, or whoever asked.
Did you ever see her? What did you think?