The car’s blue-and-gold California license plate is personalized with bolic, the name of the studio that Ike built in Inglewood, California, and the place where they recorded the album. The picture of elegance, she wears an expression of subdued satisfaction. She is sitting, with her legs crossed, on a late-model silver Rolls Royce, one hand resting on the gleaming hood and her face turned to the camera. She wears a fur coat, a long black skirt, and high-heeled black pumps. Tina’s attire and vehicle have also changed. The back cover shows a similar mountainous background, but the sign in the foreground now reads leaving nutbush city limits. A yellow traffic sign that reads entering nutbush city limits sits in the foreground to the right of a barefoot Tina Turner in a long purple cotton-print dress, her eyes shut and teeth bared in a grimace as she puts her foot up against the front grille of a 1950s-era Chevrolet pickup truck. On the front, the sun sets behind Tennessee mountains dotted with pine trees to one side is a wooden house with smoke rising out of its chimney and, across the way, a small wooden outhouse. Both the front and back feature a four-color, cartoonlike illustration of the Tennessee countryside with photos of Tina (without Ike) superimposed into the scene. The cover for the 1973 album Nutbush City Limits offers a visual representation of the Southern roots and the movement to other parts of the country that are crucial to the biographies of Ike and Tina Turner and numerous other African Americans.
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