Women of Rock: Tina Turner

What are the first female voices that really knocked you out?
Well, it was a church person in the early days, Mahalia Jackson. And Rosetta Tharpe. These spiritual, very strong voices. I only knew that they were the figures in the black race, recognizable and respected. But I must admit, I've always covered the songs of males. I haven't followed up on women or listened to that much women's music.

Can you recall what it was like the first time you took the stage?
It was at a club in East St. Louis. It was the story of Ike discovering a talent. I had wanted to get onstage with him before — was just dying to get up there, because of the musical attraction, you know. But I was always this kind of very skinny girl, and I didn't look the part, so I was never called. And then, finally, my sister was dating the drummer, and he was teasing her 'cause he knew that she couldn't sing. He gave her the microphone, and she passed it on to me, and I started to sing. And I got onstage with Ike, and I was, of course, very excited. Very competent, because I've been a singer all my life. I did a song of B.B. King's. And that was how Ike recognized me. Then I started to sing regularly on weekends. I was still in high school.

Your look has always been so distinctive. How did you put yourself together for those early gigs?
Ike took me out and bought me a wardrobe. I was very young — 17, 18. And so that was my first sequined dress: blue sequins. He bought me long gloves, the costume jewelry, a little fur. I was still at home with my mother, and he brought them over: There were three dresses, the gloves, the bare-back shoes and the stockings with the seam in the back. That was, you know, really grown-up clothes. And I was very excited, riding in a pink Cadillac. I've always been crazy about movie stars. I felt like I was Bette Davis or somebody. I had my chin up and all of that [laughs]. But I outgrew that pretty quickly.

How do your stage preparations now compare with those days?
I start my relaxed mental state as I do my makeup. I arrive at work, get rid of whatever meetings in terms of corrections for the musicians and all. When I start makeup, it brings me right down to the place where I'm relaxed. I'm in control of that. The more time I have to just play with myself and putz around, the better. I've always done my own makeup for live shows. I don't like it too professional onstage; sometimes it's really not you. It might work for video or something, but it's not for real life. Yes, there is something calming about putting myself together to face people on a stage. We love makeup. It's just girls playing.

What's Tina's road kit like these days — that little carry-on bag that will get you through any emergency?
Basically, my wardrobe is dark, usually [Yohji] Yamamoto. There's always a sweater that can go with everything. A pullover that can make the trousers work. In layers. And I have a little Dunhill old-style carrier. Everything is in there if the luggage doesn't make it. There's a T-shirt always and the shampoo, the makeup — the everything.

Any cassettes for the road?
I don't listen to music when I'm working. I'm not one who listens to a lot of music normally, anyway. I like the silence when I'm relaxing. I have a lot of spiritual books. The one I'm really into is Conversations With God. I'm also a real Anne Rice fan. That's about it. I get a lot of rest. I sleep a lot.