hand tinted color, characteristic of Warhol's silkscreen printed design, prevalent in the 1960s. Jeri Heiden, the album's cover designer, commented, "She was already highly aware of the value of her image and was in control of it." O'Brien felt that the artwork heralded the arrival of a new Madonna, while drawing on the enduring appeal of her celluloid icon Marilyn Monroe. "With this picture, Madonna made explicit the connection between Warhol and herself, the vivid nexus between pop art and commerce. The late 1980s marked a new era of the pop artist as a brand, and Madonna became the first one to exploit this." Erica Wexler from Spin described Madonna on the cover as "like a cobra basking in the hot sun, Madonna on the cover of her new album stretches her profile lasciviously." Author J. Randy Taraborrelli commented in Madonna: An Intimate Biography, that the album cover indicated how True Blue was a vehicle of growth for Madonna. He felt that the "washed out color photograph" of her with head tilted back and eyes closed was "understated", especially when compared to the sexier poses she had been associated in the past. The album's inner sleeve did not feature any photographs, and instead was dedicated to album credits and the song lyrics, since Madonna wanted to be represented by her songs on True Blue, not her image. Billboard listed the cover at rank 37 on their article about the "50 Greatest Album Covers", describing it as a striking image of Madonna. Promotion Live performance Prior to the album's release, Madonna premiered "Love Makes the World Go Round" at the 1985 Live Aid concert. The rest of the album's tracks were included on the setlist of her 1987 Who's That Girl World Tour except "Jimmy Jimmy" which remains still the only song from the album Madonna did not perform on any live appearance. It was her second concert tour and promoted True Blue alongside the film project Who's That Girl. It was Madonna's first world tour, reaching Asia, North America and Europe. Musically and technically superior to her previous Virgin Tour, the Who's That Girl tour incorporated multimedia components to make the show more appealing. Madonna trained herself physically with aerobics, jogging and weight-lifting, to cope with the choreography and the dance routines. For the costumes, she collaborated with designer Marlene Stewart, expanding on the idea of bringing her popular video