Apparently, in 1980, RSO sent this videotape to record retailers to play in-store to promote the soundtrack to Times Square. It features the two songs performed in the film, “Your Daughter Is One” and “Damn Dog.” The fact that the lyrics to “Your Daughter Is One” consist primarily of curse words and racial slurs guaranteed that it would never be played in any store for more than thirty seconds. The fact that nobody at RSO, from the tape’s conception to its distribution, realized that would happen, boggles the mind.
The middle portion of the tape is an edit of the dance the girls do along 42nd Street to “Life During Wartime” by Talking Heads. Much of this sequence is made up of shots that do not actually appear in the film; unfortunately here they’re only four or five frames long. Even more unfortunately, this digitization is at such low resolution that individual frames turn into pretty smears of color.
There are no close-ups of the girls’ feet in the movie.
Pammy doesn’t dance with the Man in Red in the movie.
These cops are only shown from the reverse angle in the movie.
“Tiger” Haynes breaks the fourth wall.
This video was originally digitized and uploaded on February 24 2012 by “PsychoticNorman”. I’ve offered to buy or borrow the tape to make a higher quality transfer, but have not received a reply. I have fixed the aspect ratio and brightened and sharpened the image a little. You can see PsychoticNorman’s original upload here. My file is technically at a higher resolution, but that’s an artifact of my editing software refusing to save at the small resolution of the original file. I’ve tried to make it easier to look at, but there isn’t really any more detail.
TIMES SQUARE soundtrack promotional video (trailer (motion picture) AAT ID: 300263866), videotape promoting the film and soundtrack for use in record stores, 5:29 (work); H264 – MPEG-4 AVC (part 10) (avc 1), 480 px (W) x 386 px (H), 19.4 MB (video); MPEG AAC (mp4a) stereo 48000 Hz (audio) (video modified 25 December 2015 from the file digitized by PsychoticNorman at https://www.youtube.com/watch?v=S38UzHtkmeA)
RSO Promo Video Image4.png, RSO Promo Video Image5.png, RSO Promo Video Image15.png, RSO Promo Video Image17.png, RSO Promo Video Image21.png, RSO Promo Video Image22.png: frame captures from “TIMES SQUARE soundtrack promotional video”, 655 px (W) x 486 px (H), 72 dpi (images)
Just like the title says, this is an ad for the soundtrack that ran in 11 x 14 industry magazines.
The first one was laminated for display by the person I purchased it from; the yellow border may not be part of the original page. The back is solid yellow, so it may be mounted on a piece of yellow paper or thin board.
The second one was torn directly from some magazine and is printed much lighter (although the first’s darker appearance may be a result of the lamination/backing); the back is a paid ad by an artist thanking all his industry contacts for the success of his record. Unfortunately, neither side has the name of the magazine, a date, or even a page number.
I would much rather have had the actual issue of whatever it is, because music magazines from 1980 often contain all sorts of cool stuff unrelated to Times Square. But, since I have two copies of the ad itself, I’m not looking very hard for whatever they were published in.
JUST RELEASED The Original Soundtrack from the Motion Picture TIMES SQUARE, 1980; advertisement (AAT ID: 300193993), 11 in (W) x 14 in (H) (work) inscription:
8-track tapes would be pretty much gone from U.S. music stores by 1982 (almost the same time as CD players made their debut), but in 1980 they were still a viable release format.
As did the cassette, the 8-track loses the back cover and interior gatefold artwork. The front cover has all the text removed from the image and placed below it on the back background, and crops the art at the top of Nicky’s hair, making this the most art-deficient version of the soundtrack.
But 8-track’s biggest deficiency is visible in the track listing on the back. Each side of the record had to fit on a single length of tape, that had to fit inside the cartridge. This tape is evidently 16:49 long, and the last songs of what would have been Sides One and Two are split across “Programs”: there would be a noticeable pause in the middle of “Down in the Park” and “Damn Dog” as the player shifted to the next two tracks. (Cassettes would sometimes deal with varying record-side lengths by changing the song order; that was also annoying, but far less so.)
This particular copy was sealed until 8 October 2015, when I opened it to scan it. Here’s what it looked like in its box, in its cellophane wrap. The price is obviously an attempt to mark it way down to move it out of the store, an unsuccessful attempt it would seem, as I’m pretty sure I paid a bit more than that and as I said, it hadn’t been opened.
The Original Motion Picture Soundtrack Times Square, 8T-2-4203; US, 1980; 8-track cartridge (FRC ID: SRE) (work);
Cassettes may have already overtaken records as the biggest selling format by 1980. They didn’t sound as good, but they were portable and convenient, and that’s always more important. There was rarely an effort to duplicate the full art of a record album on the relatively tiny insert, though.
We get the front cover, scaled way down to fit on the rectangular insert, and partly obscured by the assurance that both records are on the tape. We lose the inner gatefold, and especially the beautiful glamour photo of Robin by Mick Rock from the back of the album.
This is a Canadian edition. I doubt the U.S. version is significantly different, other than the lack of French copyright warnings and mentions of Multiplier N.V. as owner of the RSO recordings. In fact, Nicky’s Johnny badge is back instead of the blank red circle that appears on the Canadian record cover. They were so cheap in assembling the cassette art that they just used the U.S. cover image instead of their own.
The Original Motion Picture Soundtrack Times Square, RS4 2-4203; Canada, 1980; audiocassette (AAT ID: 300028661) with insert (work);
The biggest difference here is that Tim Curry is completely gone. There isn’t even a red circle where Nicky’s badge would be.
We’ve seen that before on the promotional “slick”, which was displayed in record stores in the United States. Why each country had their own idea as to this aspect of the cover art is a mystery to me.
The inner gatefold is nearly identical to the US and Canadian versions, although the yellow background seems to be getting lighter. I can’t promise that isn’t an artifact of my scanning, and I can’t be arsed to check, so if it’s important to you, let me know in the comments and I’ll dig them back out and do a proper side-by-side comparison.
His name is still there in the cast list, but all photographic evidence of Tim Curry has been purged from the U.K. record sleeve.
And the photo that’s there in his place is from a shot that didn’t make it into the film. One of the girls is holding a sign reading “Na Na Na,” which is a reference to a song Nicky sang intermittently in the screenplay that was removed from the story after the concert sequence was shot. All the shots the sign appeared in were cut, but there’s still this photo to prove it existed.
It’s always spelled “nah nah nah” in the screenplay, and was rather a major undercurrent running through the story. Nicky and Pammy used it to signal each other, Nicky spray painted it on things, and by the end the Sleez Grrls picked up on it (as we see in the picture in the album gatefold). It was originally to be part of the soundtrack, but was replaced by XTC’s “Take This Town” (in the page shown here), the Ramones’ “I Wanna Be Sedated”, and Suzi Quatro’s “Rock Hard” (explaining why “Rock Hard” is called the girls’ “favorite song” by Johnny, despite it never having been heard before in the film; Johnny was supposed to be talking about “Nah Nah Nah” which would have been heard at least twice already).
The wording of the small print on the back cover is different, and again all the mentions of recordings owned by RSO are attributed to Multiplier N.V. According to Wikipedia, N.V. stands for “Naamloze vennootschap” (“nameless partnership”) and is a public company whose shareholders are “not directly known.” Why Butterfly Alley and RSO’s international interests were incorporated as N.V.’s… well, are there any corporate tax lawyers out there?
The font on the spine is changed from the typewriter-style one to a sans-serif that may be more legible but doesn’t fit as well with the rest of the artistic direction.
The inner sleeves again have the RSO sound recording copyright notices replaced with attributions to Multiplier, although this time they’re in an approximation of the original typeface. There are also a few other changes, such as the recording of Joe Jackson’s “Pretty Boys,” owned by RSO in the US, being owned by his label A&M in the UK, and The Cure’s “Grinding Halt” changing from Fiction Records to 16 Age Record Co.
Otherwise, the sleeves are identical to the US versions, down to the notice “Printed in USA.” They are a much lighter color though (and this color difference is accurate), and there’s one other difference that also appears on the back cover and on the Side 4 record label. I’ll award a brass figlagee with bronze oak-leaf palm to the first person to identify it in the comments.
The labels rearrange the information into an unreadable mishmash, but add the names of the songwriting publishing companies.
You may be able to see why I stopped collecting copies of the records. I’m interested in Robin, not the minutiae of international music publishing. Well, I am interested in that, but enough to blog about it. Yet, here I am.
The Original Motion Picture Soundtrack “Times Square”, RSO 2658-145; U.K., 1980; 2 long-playing records (AAT 300265802) with gatefold picture sleeve (AAT 300266823) and illustrated inner sleeves (work);
TIMES SQUARE, Screenplay by Jacob Brackman, Story by Allan Moyle and Leanne Ungar; 1979; p. 23
The music on the Canadian edition of the Times Square soundtrack is identical to the US version. All the international editions are musically identical. (I suppose some might sound better or worse than others, but none of the actual tracks are different.) That’s why, other than the few examples I’ll be sharing here, I haven’t bothered collecting all the variant editions: musically they’re identical, the artwork differs in the most inconsequential ways, and the text differs in only slightly less inconsequential ways. Among editions I don’t have, there are promotional copies with white labels, and there’s a Japanese edition with an obi. Supposedly there was an edition that came with 8x10s of some of the artists, but I’ve only ever come across it once, and I suspect someone placed the photos in after the fact. Now, if something turns up with a different picture of Robin on the back, that I’ll be interested in. Otherwise, nah.
The most obvious difference is Tim Curry’s image on the front cover being replaced by a blank red circle. There’s also an assurance in English and French that there are two records inside. On the back cover, RSO’s credits for manufacturing and distribution have been given to Polygram. And most interestingly, although I don’t really know what it means, the sound recording copyright, belonging to RSO in the United States, is attributed to a company named Multiplier N.V. (this is the case with all the non-US editions). The inner gatefold is identical to the US edition, although in my opinion it (and the entire package) is printed better. (The yellow seems brighter on all the non-US pressings; that could just be because my US copy is faded through lots of handling.) And on the spine, “Printed in USA” is gone, but there is a small logo consisting of the letters “ER” in a circle. I don’t know what that means either.
On the inner sleeves, all the attributions to sound recordings being owned by RSO are replaced by notices of copyright to Multiplier N.V., in a different typeface, as if they had simply been pasted over. And the line “Mastered at STERLING SOUND by George Marino” has been deleted.
The color of the labels is slightly darker than the US edition. The information has been slightly reformatted, and RSO is replaced by Multiplier in the song information and by Polygram in the manufacturing and distribution credit. And Bill Oakes’ credit has changed from Album Executive Producer to simply Executive Producer.
I wonder if the original recordings being owned by RSO, Inc. in the US and by Multiplier N.V. in the rest of the world has anything to do with the soundtrack never being re-released. Does anyone have a non-US edition of the Saturday Night Fever soundtrack, to check the copyright information there?
I think that’s enough Canadian excitement. Wherever shall we go next?
The Original Motion Picture Soundtrack “Times Square”, RSO RS-2-4203; Canada, 1980; 2 long-playing records (AAT 300265802) with gatefold picture sleeve (AAT 300266823) and illustrated inner sleeves (work);
Finally, here’s what all the fuss was about. The 2 record set containing all but one of the songs from the film. In their haste to load the film with soundtrack material, they actually added one too many, and for some reason lost to time, the excellent “Dangerous Type” by The Cars was cut.
All but one of the photos on the inside gatefold were used at least once more, some several times – for instance, we’ve already seen the shot of Pammy and Nicky singing “Your Daughter Is One” on the cover of the Japanese “Same Old Scene” 45.
The album was released worldwide in 1980 and 1981, and never re-pressed or re-issued in any form. (If you have a CD, it’s a pirated copy.) Whether Robert Stigwood met his goal of reaping massive profits from the soundtrack, leaving the movie to act only as a bit of publicity for the record, I don’t know. I do know that for years, you could go into Sounds on St. Mark’s Place and be assured of finding at least one copy for $1.00. I also know that, unlike the movie, the soundtrack garnered nothing but good reviews, and gained cult status as a great collection of music long before the film achieved its own cult status.
“Talk of the Town” is the single version, not the edited version released on the Pretenders’ Extended Play and Pretenders II. It’s the version used in the video and eventually found a home on the collection The Singles.
The version of “Down in the Park” seems to be the same basic recording as the version on the album Replicas, but is missing a number of effects and synthesizer tracks. It’s also quite a bit different from the “early version” on Disc 2 of the Replicas Redux 2008 expanded edition. It has never been released on CD as far as I know.
“Help Me!” probably would have found a home on Marcy Levy’s debut album, had that ever been completed. She’d been signed with RSO since 1976 but that project never came out, and apparently she’s not exactly disappointed about that:
‘It was an R’n’B album because I’ve always been involved in blues and soul, but they were always trying to pigeonhole me.’
“Damn Dog” is still missing Norman Ross’ writing credit. It’s on the sheet music, as we’ve seen, but for some reason it only appears intermittently on the records. It is there front and center on “Your Daughter is One,” at least.
I’ve long had a theory that “Flowers in the City,” the one song on the soundtrack that doesn’t appear in the film, was supposed to be the original closing theme, not “Help Me!”, but attractive as this idea still is I’ve yet to some across any real evidence for it.
Joe Jackson’s “Pretty Boys” and Garland Jeffreys’ “Innocent, Not Guilty” both seem to have been recorded expressly for the soundtrack. The sound recordings of both are copyrighted to RSO, and “Innocent” was engineered by the same person who engineered “Your Daughter is One.” Both songs would appear in totally new versions on the artists’ next albums, but to my knowledge these RSO-owned recordings have never been re-released.
Jimmy Iovine had recently come from producing Tom Petty’s Damn the Torpedoes album when he was brought in board to help produce the Times Square soundtrack, leading to the announcements that Tom Petty would appear on the soundtrack. That didn’t happen of course, but Iovine was producing D. L. Byron’s debut album This Day and Age at the time, and tapped him and his band to provide the backing tracks for both versions of “Damn Dog,” and a cover of “You Can’t Hurry Love.”
“Actually, ‘Shadows of the Night’ was written for Times Square. Jimmy [Iovine] had just finished mis-producing my first record. He was the Musical Coordinator/ Director for the film. I asked him about the plot… he gave me a brief synopsis… rich girl meets poor girl, they run away, hide on a pier, hook up with a late night FM DJ, and begin these strange communications, etc. So I took all that in, went home and sat down at the piano with my legal pad and pen, and ‘Shadows’ popped out in only what seemed like twenty minutes. Those are the best songs. The ones that don’t require any labor or crafting. They just write themselves, if you’re willing to get out of the way.
“The producers of the film couldn’t find an appropriate placement for the song. They came to me with a cassette of Graham Parker performing ‘Can’t Hurry Love’ live. So I suppose it can be said that my version was modeled on Parker’s.”
— D. L. Byron, 19 April 2013 and 13 September 2015
Graham Parker’s version had been recorded in 1976 and released on the promo only album Live at Marble Arch. That album itself had achieved its own cult status and was widely taped and bootlegged, but unlike Times Square it finally got a digital release in 1996 as part of the second disc of the greatest hits compilation Vertigo. It is recognizably the same arrangement, but much as I love Graham Parker, I think Byron plays it better. I may be biased.
Byron told the above story in this interview from 2012, in much the same words but with a few more details, such as that the original interest in “Shadows of the Night” (yes, the “Shadows of the Night” that would become a massive hit for Pat Benatar two years later) (can you imagine? “Shadows of the Night” making its debut in Times Square?) was as the opening number (which is Roxy Music’s “Same Old Scene” in the film, and was The Beatles’ “All You Need Is Love” in the May 1979 screenplay). And, again in my opinion, there is a good place for the song and, like “Flowers in the City,” it’s in place of “Help Me!” It would have been a perfect closing anthem for the movie. But, I suppose the fix was already in with Stigwood for anyone named Gibb.
And, last but not least, returning to announced songs that are missing from the soundtrack — whatever happened to David Bowie? I have a theory about that, too…
But first — I could have sworn that I’d found a reference in text to Bowie being included on the soundtrack while it was still in production, but if so I’ve mislaid it. The only references in print of a song that didn’t make it are to Tom Petty’s “Refugee.” If I’ve double-crossed myself and there is one such that I’ve posted and forgotten about, please someone point me to it. Otherwise, the only real clue is Allan Moyle’s recollection on the Anchor Bay DVD commentary track that there had been a Bowie song planned.
The only confirmation I ever got was in the form of an email from a Robin fan, who said
The Bowie song omitted from the soundtrack was a version of “Life On Mars?” which I have heard is quite different from the classic that we all know and love. He also recorded an alternate version of “The Night Was Not” (My personal fave on the soundtrack) with Desmond Child. A few years ago my wife recounted to me an interview she read in some rock magazine with Desmond Child in which he discussed the music he has done for film. The names of the movie and song struck her (as she’s heard me prattle on about it), as did his mention of Bowie, so she told me about it and it’s one of those things that just sticks in the back of your mind, you know?
I’ve searched for such a magazine/interview with no luck, and several inquiries to Desmond Child have gone unanswered.
As far as I know no such rerecording of “Life on Mars?” has ever surfaced, and there don’t seem to even be any promising bootlegs from that time; no evidence that anything at all was recorded. Now, this would have been just after the time Bowie had been recording Scary Monsters (and Super Creeps). When the video for “Fashion” was shot in October, it featured among its cast G. E. Smith, who had not played on the track or the album. He had been, however, a member of Desmond Child & Rouge for the album Runners in the Night, from which “The Night was Not” came. If Child and Bowie had been collaborating on a track, it’s likely that’s how Bowie and Smith met.
And that would be how Smith came to be in Bowie’s band on September 3, 1980, playing “Life on Mars?” and “Ashes to Ashes” on The Tonight Show with Johnny Carson. Carson introduced the songs as both being about space, but “Ashes to Ashes” is more about heroin addiction, and “Life on Mars” is about… a young girl escaping her awful home life by running to the movies.
In trying to do research for this post, I saw many posts about Bowie’s Tonight Show performance, wondering about the strange choice Bowie made in pairing the nine-year-old “Life on Mars?” with the new single. I think he had both the arrangement and G. E. Smith handy, because a new recording of “Life on Mars?” had been in the works for the Times Square soundtrack. This performance is as close as we’ll get to the mystery track. — In my highly speculative opinion. I point out again, there is absolutely no proof for any of this. But, it is a good excuse to watch this again:
… was, for some reason, the title of the promotional soundtrack sampler in the UK.
It’s a much more attractive package than the US sampler, with a strip of stills across the top emphasizing that yes, there’s a movie involved, as opposed to the US white sleeve that seemed to want to distance the soundtrack album from the film.
The first, fourth, and fifth photos in the strip are TS-72-8A/14, TS-57-26/1, and TS-82-30, edited from the stills in the Press Materials folder. The second one, the shot of Pammy applauding, is unique to this item as far as I know. The third and sixth ones, of Nicky during the final concert, may also be unique to this item but there were more photos taken during that shoot than at any other time during the production, and at the time of this writing I certainly haven’t collated all the ones I have.
The synopsis of the film mentions Johnny broadcasting from the top of the Allied Chemical Building, which is where WJAD was located in the May 1979 screenplay. The station was moved for the actual film to the top of the Candler Building. None of the other promotional materials for the film mention the Allied Chemical Building. The synopsis writer was apparently working from an early draft of the screenplay, and not the film itself.
About the story …
‘Times Square’ depicts the adventures of two teenage runaways, New York girls from different social backgrounds, and the all night Times Square radio personality who befriends them and gives a boost to their dream of rock stardom.
Pamela Pearl (Trini Alvarado) is the 13 year old daughter of a young New York City politician who has been given the job of cleaning up the seedy Times Square area. Nicky Marotta (Robin Johnson) age 16, is a street delinquent who dreams of becoming a rock and roll star.
Pamela is shy and awkward, inhibited. Nicky is rebellious, with a streak of explosive energy and dark humour. They meet while both are undergoing tests at a psychiatric hospital and escape by commandeering an ambulance.
Johnny La Guardia (Tim Curry) who broadcasts from a studio high atop the Allied Chemical Building, considers Times Square his personal domain. Pamela had written to him anonymously. Intrigued, he promotes the story of the runaways, urging the girls on, and turns them into minor media celebrities. It also makes things uncomfortable for Pamela’s father.
The girls hide out in an abandoned warehouse overlooking the Hudson River. Calling themselves The Sleaze Sisters, they dress in versions of down and outers, spray paint their sleaze slogans around the town, and inspire others to reject the smooth superficiality of the plastic culture and ‘go sleaze’.
They make a second home on the Deuce – the stretch of 42nd Street between Seventh and Eighth Avenues – and are adopted by the locals who protect them from potential danger. Events conspire to bring their adventure to a close, but Nicky insists they ‘go down flaming’.
When Johnny publicizes their planned illegal, midnight concert in Times Square, hundreds of teenage girls arrive in ‘Sleez (sic) Sisters’ wardrobe and the scene is set for a bizarre climactic close.
The record contains six tracks like its US counterpart, but has only two in common with it (“Life During Wartime” by Talking Heads and “Same Old Scene” by Roxy Music).
It leaves off the two versions of “Damn Dog” and “Help Me!” and the Pretenders’ “Talk of the Town,” replacing them with the Ramones’ “I Wanna Be Sedated,” XTC’s “Take This Town,” Joe Jackson’s “Pretty Boys,” and Garland Jeffreys’ “Innocent, Not Guilty.” “I Wanna Be Sedated” was two years old at this point, but as to the others: “Take This Town” was recorded for the movie and it would be several years before it would find another official release on the compilation Rag and Bone Buffet, and the other two songs would be released on albums by the artists within the year but in entirely new recordings. I just find it interesting that one-third of this record is recordings whose only official release was on the Times Square soundtrack.
This 6-track, white-labelled, white-sleeved record was used by RSO to promote the Times Square soundtrack in the U.S. As there was no art, it may be the most boring promotional item released. It would have been distributed to radio stations, and copies were later handed out at the film’s premiere at the Ziegfeld Theater, or at the party afterward at Tavern on the Green, on October 14, 1980.
Can’t argue with the track list for Side One: “Life During Wartime” and “Talk of the Town” are two of the best songs on the soundtrack, and “Damn Dog” IS the film. Side Two starts with “Rock Hard” and closes with “Same Old Scene,” two more winners, and in between is sandwiched “Help Me!” which was Robert Stigwood hedging his bets.
Would you buy the double-album soundtrack based on this? There certainly is no incentive anywhere in this package to go see the movie. I wonder if the lack of a picture sleeve was of any note to the people who got this record at the premiere.
I do note that Norman Ross’s writing credit is absent from “Damn Dog.” Yes, I didn’t know who he was before last Christmas, but now I am righteously angry on his behalf.
SPECIAL PREVIEW OF SELECTED CUTS FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK “TIMES SQUARE”, RSO RPO 1026, 1980; long-playing record (AAT ID: 300265802) (work)
NOT FOR SALE
SPECIAL PREVIEW OF SELECTED CUTS
FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK
“TIMES SQUARE” A ROBERT STIGWOOD PRODUCTION
(RPO 1026 AS)
1. LIFE DURING WARTIME – TALKING HEADS 3:40
℗ 1979 SIRE RECORDS COMPANY
2. TALK OF THE TOWN – THE PRETENDERS 3:16
℗ 1980 REAL RECORDS
3. DAMN DOG – ROBIN JOHNSON 2:40
(B. Mernit-J. Brackman)
℗ 1980 RSO RECORDS
MANUFACTURED & MARKETED BY RSO RECORDS, INC. 8335 SUNSET BLVD. LOS ANGELES, CA. 90069
NOT FOR SALE
SPECIAL PREVIEW OF SELECTED CUTS
FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK
“TIMES SQUARE” A ROBERT STIGWOOD PRODUCTION
(RPO 1026 BS)
1. ROCK HARD – SUZI QUATRO 3:18
(M. Chapman-N. Chinn)
℗ 1980 DREAMLAND RECORDS, INC.
2. HELP ME! – MARCY LEVY AND ROBIN GIBB 3:37
(R. Gibb-B. Weaver)
℗ 1980 YAM, INC.
3. SAME OLD SCENE – ROXY MUSIC 3:54
℗ 1980 ATLANTIC RECORDING CORPORATION
MANUFACTURED & MARKETED BY RSO RECORDS, INC. 8335 SUNSET BLVD. LOS ANGELES, CA. 90069
“O” is for “oversized,” I assume. This image is the same size as the image of the last poster, but trust me, the actual poster is double the size — just as tall and twice as wide. At four feet wide, it may be the largest poster in my collection; the UK “Quad” movie poster may be larger… we’ll see when we get there.
You can see for yourself how the elements from the previous poster, themselves rearranged from the album cover (as seen on the promotional slick), have been rearranged here. The very background is still yellow, but it’s been overlaid with a blue rectangle. Nicky and Pammy have been moved into the upper right corner, and the RSO cow removed from Nicky’s Johnny LaGuardia button. The title has been enlarged and moved into the upper left. The bottom half is the pixellated photo of the final concert, just like in the last poster, but nearly all of it is visible here. The red paint streak here stretches all across the bottom, and serves as a background to highlight the artist names.
The biggest difference here, though… no mention of the movie’s opening date. This double-sized poster promotes the record and the record only.
I never saw this poster in its natural habitat (on the wall of a record store), but I find it more visually pleasing than most of the other posters, except for the poster-side of the 2-sided poster. I guess my eye just likes the red and the blue better than the yellow. I sincerely doubt I’ll ever live somewhere with enough wall space to hang it up, though.
“Times Square” Original Motion Picture Soundtrack promotional poster OP-200
poster, AAT ID: 300027221; color, 32 in (H) x 48 in (W) (work);
1080 px (H) x 715 px (W), 96 dpi, 622 kb (image) 1980 inscription: