I know I don’t post enough Tina (any? - ED) but we appreciate her don’t we, standing like a beaming icon in the dark of the abuse against women . . . . . . .success is the best revenge!
Tina Turner’s rock’n’roll identity was ultimately her gateway out of her marriage to Ike and into her solo career. Although the rock circuit (and covering the likes of the Beatles and Creedence Clearwater Revival) would prove a lucrative way for the Ike and Tina Revue to expand their fanbase, it was Tina who, by the time she filed for divorce in 1976, had fully turned to rock as recourse, claiming her entitlement to perform music for which the 1920s blues queens (Bessie Smith and Ma Rainey) paved the way and which the 1940s and 50s path-breakers (Sister Rosetta Tharpe and Big Mama Thornton) had critically helped to invent.
She generated her own rendition of sonic blackness and femininity while gigging in the 70s, finding a new home for her voice as “the acid queen” in the 1975 adaptation of rock opera Tommy. And she turned to a whole new set of covers – Under My Thumb, Let’s Spend the Night Together, I Can See for Miles, Whole Lotta Love – turning those masculine (and often misogynist) narratives of power, desire, independence and sexual prowess into the sound of brave and unbridled, sexually and socially assertive womanhood.
Daphne A Brooks - The Guardian
Photo: Filip Wouters
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