Bravo, No. 21, Germany, May 19, 1982

Posted on 9th January 2019 in "Times Square"
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Bravo No. 21, May 19, 1982, German pop culture magazine
Article promoting TIMES SQUARE in Bravo No. 21, May 19, 1982, a German pop culture magazine. Text: Jetzt im Kino: TIMES SQUARE IHR KONNT UNS ALLE MAL Ein irrer Film mit heißer Musik über die ausgeflipptesten Teenager von New York Die 16jährige Nicky Marotta (Robin Johnson) und die 13jährige Pamela Pearl (Trini Alvarado) liegen zusammen im Zimmer eines New Yorker Krankenhauses. Beide sollen auf ihren Geisteszustand untersucht werden. Nicky, weil sie eine notorische Streunerin ist; Pamela, weil ihr Vater, ein ehrgeiziger Politiker, mit ihr nicht mehr klarkommt. Eines Tages überredet Nicky Pamela zur Flucht. Im Nachthemd entwischen sie aus dem Krankenhaus, schnappen sich einen Krankenwagen und brausen los. In einem alten Schuppen am Times Square, einem der berühmtesten und berüchtigtsten Plätze New Yorks, finden sie Unterschlupf. So beginnt der Film „Times Square“ (in Deutschland hat er noch den Untertitel „Ihr könnt uns alle mal“). Die beiden Mädchen finden ihr „freies“ Leben herrlich. Sie tragen die ausgefallensten Klamotten, hören pausenlos heiße Musik und jobben abends in einer Kneipe. Nicky, die gut Gitarre spielt, singt mit einer Band,| Pamela arbeitet als Go-go-Girl. Natürlich hat Pamelas Vater alle Hebel in Bewegung gesetzt, um seine Tochter zu finden. In den Fall hat sich auch der beliebte Discjockey Johnny LaGuardian (Tim Curry, der Dr. Frank N. Furter aus der „Rocky Horror Picture Show“) eingeschaltet. Er ist so eine Art Thomas Gottschalk. Ihm vertrauen die Teens, wenn er täglich am Mikrofon zu ihnen spricht. Johnny findet die beiden und verspricht, ihnen zu helfen. So dürfen die Mädchen ein von Nicky komponiertes Lied über den Sender singen. Die jugendlichen Hörer sind begeistert. Johnny erzählt ihnen die Geschichte der beiden Ausreißerinnen. Nicky und Pamela werden auf ihre Art zu „Heldinnen“. Einer der Höhepunkte des Films ist die Aufforderung von Nicky und Pamela, dem Götzen „Fernsehen“ abzuschwören. Und Hunderte machen mit: Zum Entsetzen der Eltern werfen die Teenager die Fernseh-Apparate einfach auf die Straße. Doch die beiden Mädchen sehen bald ein, daß ihr Leben so nicht mehr weiterlaufen kann. Und wieder erweist sich der Discjockey Johnny als Retter. Er organisiert für Nicky ein Konzert auf dem Dach eines Kinos. Aus allen Richtungen New Yorks strömen die Kids in gleicher Aufmachung wie Nicky und Pamela zum Times Square. Das Konzert, obwohl von der Polizei nicht genehmigt, wird ein Riesenerfolg. Nicky ist ihrem Traum, ein Rock- Star zu werden, nähergekommen. Pamela kehrt zu ihrem Vater, der eingesehen hat, daß auch er viele Fehler gemacht hat, zurück. Die beiden Hauptdarstellerinnen sind Neulinge. Nicky (Robin Johnson) wurde von der Schule weg engagiert, Pamela (Trini Alvarado) drehte bereits einen Film. Toll natürlich Tim Curry. Die Musik stammt unter anderem von Suzi Quatro, Pretenders, Roxy Music, Gary Numan, XTC, Ramones und Robin Gibb von den Bee Gees. Text: Peter Raschner Auf dem Dach eines Kinos gibt Nicky ihr erstes, umjubeltes Rock-Konzert Wutenbrannt stürzt sich Pamelas Vater auf Disc-jockey Johnny Die 13jährige Pamela Pearl jobbt als Go-go-Girl, nachdem sie zu Hause ausgerissen ist Nicky (rechts) und Pamela träumen von einer Rock-Karriere -- Disc-Jockey Johnny (rechts) hilft ihnen dabei Nicky und Pamela auf dem Times Square. Sie sind in dieser Gegend bekannt wie bunte Hunde

May 1982, and Times Square was about to have its final premiere, in West Germany. Why did it take this long, over a year and a half after its initial premiere, and a year after the rest of Europe had seen it? I have no idea. But someone still had hope for the movie, as shown by the two-page spread in Bravo, featuring the same sort of excited plot synopsis published in Filmstar No. 3, Sonido No. 56 and Film Review Vol. 31 No. 2.

 

 

 

The big picture across the two pages was last seen in the February 1981 Movie 81 and on the Japanese movie poster. The picture on the top left of page 34 was the top middle image on the Mexican movie poster. The center photo on page 34, of Mr. Pearl attacking Johnny, is I think making its first appearance here. We last saw the bottom photo in the Japanese souvenir program book and flyer, and on a British lobby card. On page 35, the shot of Johnny at the mic was also a British lobby card, and appeared in Movie 81. And the bottom photo was also a British lobby card, last seen in Joepie No. 365 in March 1981, and first seen in the “Robert Stigwood Presents Times Square” folder from sometime in 1980 well before the movie’s release.

Here’s the text by Peter Rauscher in German, followed by my attempt at a translation.

Jetzt im Kino: TIMES SQUARE
IHR KONNT UNS ALLE MAL

Ein irrer Film mit heißer
Musik über die ausgeflipptesten
Teenager von New York

Die 16jährige Nicky Marotta (Robin Johnson) und die 13jährige Pamela Pearl (Trini Alvarado) liegen zusammen im Zimmer eines New Yorker Krankenhauses. Beide sollen auf ihren Geisteszustand untersucht werden. Nicky, weil sie eine notorische Streunerin ist; Pamela, weil ihr Vater, ein ehrgeiziger Politiker, mit ihr nicht mehr klarkommt.

Eines Tages überredet Nicky Pamela zur Flucht. Im Nachthemd entwischen sie aus dem Krankenhaus, schnappen sich einen Krankenwagen und brausen los. In einem alten Schuppen am Times Square, einem der berühmtesten und berüchtigtsten Plätze New Yorks, finden sie Unterschlupf.

So beginnt der Film „Times Square“ (in Deutschland hat er noch den Untertitel „Ihr könnt uns alle mal“). Die beiden Mädchen finden ihr „freies“ Leben herrlich. Sie tragen die ausgefallensten Klamotten, hören pausenlos heiße Musik und jobben abends in einer Kneipe. Nicky, die gut Gitarre spielt, singt mit einer Band,| Pamela arbeitet als Go-go-Girl.

Natürlich hat Pamelas Vater alle Hebel in Bewegung gesetzt, um seine Tochter zu finden. In den Fall hat sich auch der beliebte Discjockey Johnny LaGuardian (Tim Curry, der Dr. Frank N. Furter aus der „Rocky Horror Picture Show“) eingeschaltet. Er ist so eine Art Thomas Gottschalk. Ihm vertrauen die Teens, wenn er täglich am Mikrofon zu ihnen spricht.

Johnny findet die beiden und verspricht, ihnen zu helfen. So dürfen die Mädchen ein von Nicky komponiertes Lied über den Sender singen. Die jugendlichen Hörer sind begeistert. Johnny erzählt ihnen die Geschichte der beiden Ausreißerinnen.

Nicky und Pamela werden auf ihre Art zu „Heldinnen“. Einer der Höhepunkte des Films ist die Aufforderung von Nicky und Pamela, dem Götzen „Fernsehen“ abzuschwören. Und Hunderte machen mit: Zum Entsetzen der Eltern werfen die Teenager die Fernseh-Apparate einfach auf die Straße.

Doch die beiden Mädchen sehen bald ein, daß ihr Leben so nicht mehr weiterlaufen kann. Und wieder erweist sich der Discjockey Johnny als Retter. Er organisiert für Nicky ein Konzert auf dem Dach eines Kinos.

Aus allen Richtungen New Yorks strömen die Kids in gleicher Aufmachung wie Nicky und Pamela zum Times Square. Das Konzert, obwohl von der Polizei nicht genehmigt, wird ein Riesenerfolg. Nicky ist ihrem Traum, ein Rock- Star zu werden, nähergekommen.

Pamela kehrt zu ihrem Vater, der eingesehen hat, daß auch er viele Fehler gemacht hat, zurück.

Die beiden Hauptdarstellerinnen sind Neulinge. Nicky (Robin Johnson) wurde von der Schule weg engagiert, Pamela (Trini Alvarado) drehte bereits einen Film. Toll natürlich Tim Curry. Die Musik stammt unter anderem von Suzi Quatro, Pretenders, Roxy Music, Gary Numan, XTC, Ramones und Robin Gibb von den Bee Gees.

Text: Peter Raschner

Auf dem Dach eines Kinos gibt Nicky ihr erstes, umjubeltes Rock-Konzert

Wutenbrannt stürzt sich Pamelas Vater auf Disc-jockey Johnny

Die 13jährige Pamela Pearl jobbt als Go-go-Girl, nachdem sie zu Hause ausgerissen ist

Nicky (rechts) und Pamela träumen von einer Rock-Karriere — Disc-Jockey Johnny (rechts) hilft ihnen dabei

Nicky und Pamela auf dem Times Square. Sie sind in dieser Gegend bekannt wie bunte Hunde

In theaters now: TIMES SQUARE
YOU CAN ALL (KISS OUR ASSES)

A crazy film with hot
music about the freaky
teenagers of New York

16-year-old Nicky Marotta (Robin Johnson) and 13-year-old Pamela Pearl (Trini Alvarado) lie together in the room of a New York hospital. Both to have their mental health examined. Nicky because she is a notorious stray; Pamela because her father, an ambitious politician, can’t handle her any more.

One day Nicky persuades Pamela to escape. In their nightgowns they escape from the hospital, steal themselves an ambulance and zoom off. In an old shack in Times Square, one of the most famous and most notorious places in New York, they find shelter.

So begins the film “Times Square” (in Germany it also has the subtitle “You can all […] our […]”). Both girls find their “free” life wonderful. They wear outrageous clothes, listen to hot music nonstop and in the evening work in a bar. Nicky, who plays guitar well, sings with a band; Pamela works as a go-go girl.

Naturally Pamela’s father has pulled out all the stops to find his daughter. On this case the popular disc jockey Johnny LaGuardian (Tim Curry, Dr. Frank N. Furter from “The Rocky Horror Picture Show”) is also involved. He is a Thomas Gottschalk type. The teens trust him when he speaks daily through the microphone to them.

Johnny finds them both and promises to help them. So the girls sing a song composed by Nicky over the radio. The young listeners are inspired. Johnny tells them the story of the runaways.

Nicky and Pamela become in their own way “heroines.” One of the highlights of the film is the call of Nicky and Pamela to renounce the idol “television.” And hundreds join in: to the horror of their parents the teenagers simply throw their television sets to the street. But both girls soon see that their life cannot continue this way. And again Johnny the disc jockey comes to the rescue. He organizes a concert on the roof of a cinema for Nicky.

The Kids stream from all areas of New York to Times Square in outfits identical to Nicky and Pamela. The concert, although not authorized by the police, becomes a huge success. Nicky has come closer to her dream to become a rock star.

Pamela returns to her father who has realized that he also has made many mistakes.

Both leading actresses are newcomers. Nicky (Robin Johnson) was hired away from her school, Pamela (Trini Alvarado) previously made a film. Of course Tim Curry is terrific. The music is by, among others, Suzi Quatro, Pretenders, Roxy Music, Gary Numan, XTC, Ramones and Robin Gibb of the Bee Gees.

Text: Peter Raschner

On the roof of a cinema Nicky gives her first rock concert performance

Pamela’s father falls furiously on disc jockey Johnny

13-year-old Pamela Pearl works as a go-go girl, after she has run away from home

Nicky (right) and Pamela dream of a rock career – disc jockey Johnny helps (right) them at it

Nicky and Pamela in Times Square. They are known in this neighborhood as colorful dogs

I think that last caption might be better translated as “they are well known to the locals,” but I had a hard enough time rendering the German subtitle into colloquial and printable English.  

 
 
Bravo No. 21, May 19, 1982, Germany (monthly (publication) (AAT ID: 300311879))
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Times Square ©1980 StudioCanal/Canal+
 

October 1981: Times SquareGreat TV Entertainment…?

Posted on 27th December 2018 in "Times Square"

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Cover of October 1981 TV listings magazine for Showtime and The Movie Channel


 
 

 

According to the October 1981 issue of Great TV Entertainment, the official schedule for Showtime and The Movie Channel, Times Square was shown six times on The Movie Channel, on October 25, 27, and 31. I could have sworn it was shown many times more than that; the showings must have continued into November, or perhaps it was also shown on HBO like everybody, including me, remembers.

 

October 1981 TV listings for Showtime and The Movie Channel Relevant text: SHOWTIME THE MOVIE CHANNEL TIMES SQUARE Two misfit teenagers become runaway rebels roaming the streets of New York City. They find fame--and disaster-as the rock ’n’ rolling Sleaze Sisters. Trina Alvarado and Robin Johnson co-star. Language. (R-1:51) Oct.25,27,31-M

TIMES SQUARE
Two misfit teenagers become runaway rebels roaming the streets of New York City. They find fame–and disaster-as the rock ’n’ rolling Sleaze Sisters. Trina Alvarado and Robin Johnson co-star. Language. (R-1:51) Oct.25,27,31-M

 

 

Times Square got a photo and a little blurb, which was more than Let It Be got. Maybe that’s why Let It Be is one of the few movies that’s now harder to see than Times Square. (… Nah.)

The photo, typically, isn’t a frame from the movie. It’s a publicity still shot on set that is making its first appearance in this magazine. The AFD/EMI/RSO promotion people had been sitting on this gem for a year. No wonder the movie flopped.

October 1981 TV listings for Showtime and The Movie Channel, contents page detail

 

 

Great TV Entertainment, October 1981 (monthly (publication) (AAT ID: 300311879))
20.75 x 13.5 cm. (work);
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©1981 TVSM, INC.

 

Times Square ©1980 StudioCanal/Canal+

 

Filmstar, Vol. 1 No. 6, Thailand, October 1981

Posted on 3rd December 2018 in "Times Square"

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Cover of a movie magazine from Thailand containing article on Robin Johnson  Text:  Fortnightly Friend of the Film Buff  FILMSTAR Volume 1 No. 6 / October 1, 1981  Special A new Bond girl FOR YOUR EYES ONLY  Free Color Poster  12.

 

 

 

 

I would think that by October of 1981, a year after its initial release in New York, and two or three months after its Thai release, Times Square would have long since closed in Thailand and become a distant memory. But that didn’t stop Filmstar magazine from running an article promoting Robin herself, very much like the interviews with Robin published during her publicity tour nine months previous.

ROBIN JOHNSON
A quick-witted likeable young lady

Do you still remember Nicky, a quick witted rebelliously likable young girl from Times Square? If you are also someone who fell in love with that Nicky, here is a tiny reminiscence that she is happy to share. Even though it is not going to be as exciting as in the film, I bet you wouldn’t mind learning from her.

Nicky is Robin Johnson, 17 year old teenager from Brooklyn. Her accent is clearly a unique and gravelly Brooklynese when she speaks. When we met her, Robin Johnson’s hair was still chopped in a shaggy cut. “It would be too expensive to go to a beauty shop and have it stripped out.” she says, “And it would take hours. I’ll just wait till it grows back in the real way.”

Robin still remembers the role of Nicky so well even though a year has passed by. She and Trini Alvarado are friends on and off screen. Trini wants to be a song-writer. Robin, a rock singer — finally, she does give a street concert in Times Square.

“I love rock.” Robin says. “Van Halen. Led Zeppelin. Music makes you feel good — and sometimes sad. I remember the song called Damn Dog so well. It’s not punk. I hate punk music, the real punk that comes from England—The Clash. Sex Pistols. They’re maniacs: they want to die. I don’t mind New Wave so much. It has the same kind of roots, but it’s mellower.”

Robin starts to giggle when she thinks about one scene in the movie. “I’m really very wild-looking. I wear a mask like the Lone Ranger and a blue turtleneck sweater with blue glitter tights and a plastic-garbage-bag belt!”

Acting in the film was the first job Robin ever had. “That matures you. learning how to work and deal with people. Being street-smart helps in making a movie. There are certain rules you pick up— when to keep your mouth shut, when to do certain things. It’s like being in a different neighborhood — some people might give you a hassle, but if they do. you should keep your mouth shut, even if you get mad, and just walk the other way and get out of there. I learned responsibility. You become more considerate. I liked everybody I worked with except two out of a hundred. One woman really gave me a fit — she was such a big complainer. she must have gotten a B.A. in complaining! After a while. I just avoided her except when I absolutely had to work with her. ‘What am I going to get upset for?’ I asked myself. ‘I’m the one you see on the screen.’”

Robin goes to Brooklyn Tech high school. “I never get along with my teachers,” she says. “I’m rebellious. I don’t like people in authority.”

Robin remembered a casting scout, who arranged for Robin to go to an audition in Manhattan. That audition feels like it wrecks her brains. Back then, in her head she thought “I just wanted to go home to sleep but my friend Cindi was with me, and she says. ‘No. no. no. you’ve got to go. “I had to fill out a sheet with height, weight, eye color, hair color—stuff like that. Then, they’re putting me on tape, inside the studio room I was sitting there like a dummy and read the script. I don’t know why they have chosen me but I got a part in Times Square.”

“It’s a nice feeling to be picked out of so many.” Robin says. “People call me a natural talent, but what I say to that is that the character I play is very close to me so that my actions are natural. It’s easy to play someone like yourself.”

Around her neck, she wears a couple of gold chains. One has her birth sign. Gemini, dangling from it; the other, a tiny round gold circle, contains a diamond chip. “Trini and I were given diamonds by the crew at a party when the movie was finished,” Robin explains, her eyes wide. “When I saw the Tiffany bag it came in. I said. ‘My God!’ I put it on, and I haven’t taken it off since.”

I managed to have this article translated professionally by Joy Busai (whose website, www.thaienglishhq.com, unfortunately seems to be down at the moment), and she noticed that it seemed itself to be an almost word-for-word translation into Thai of Robin’s interview in Seventeen Magazine from October 1980. While it got me a discount on the translation, it was something of a disappointment to find that one of the last contemporary Times Square articles contained absolutely nothing new.

Photo roundup: Page 40 is cropped from the image used most prominently for a UK lobby card.

Bottom left on p. 41 is the shot published in Playboy, Vol. 28 No. 1, January 1981. Top to bottom at right: a shot of the final concert previously used on the UK soundtrack sampler; Nicky cutting Pammy’s hand, with a boom microphone front and center, as seen in the Japanese souvenir program book; a previously-unpublished, as far as I know, full frame from the film showing the extra empty space at the top; and a shot of Robin as Nicky that accompanied her October 1980 interview in Seventeen, which itself was translated into Thai in the issue of Filmstar three months before this one.

Page 41, top left, is the Yoram Kahana shot that first appeared, again as far as I know, in Movie 81 No. 2. Directly below is UK publicity still 21. Below that, captioned “ROBIN”, is TS-69-34A/4. To its right is a shot taken within seconds of the UK lobby card but itself seems to be making its first appearance here. To the right is TS-82-30/4, and finally at the bottom right is another frame from the film with extra space at the top and bottom.

See also:

U.K. Lobby Cards (post 1 of 3)
UK Promo Photos 4, 13, and 21, 1980-81
Times Square Press Material folder (post 4 of 5)
U.K. Lobby Cards (post 3 of 3)
Times Square Press Material folder (post 5 of 5)

 

 

Times Square (article, AAT ID: 300048715)
Filmstar Vol. 1 No. 6, 1 October 1981, pp. 40-42 (magazine (periodical), AAT ID: 300215389)
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Times Square ©1980 StudioCanal/Canal+

 

Filmstar, Vol 1 No. 3, Thailand, August 1981

Posted on 9th November 2018 in "Times Square"

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Cover of movie magazine from Thailand with article about TIMES SQUARE (1980)

 

 

 

By August 1981, Robin might already have figured out that neither she nor Andy Gibb were going to get a call telling them when to report to the Grease 2 set. Most of the world had already forgotten about Times Square. But it wasn’t quite over yet.

 

Thailand’s Filmstar magazine devoted four pages and the back cover to the upcoming release of Times Square. I tried and failed to get a professional translation of the article. Google Translate makes nearly as bad a hash of Thai as it does Japanese, but from what I can make out, this is a purely promotional article summarizing the plot, like the articles in Sonido No. 56 and Film Review Vol. 31 No. 2.

 

The caption and drawing on page 63, the first page of the article, are from the European movie poster, and the photo of Pammy and Nicky is TS-72-8A/14, the most-used photo of the girls together.

The image from the poster also appears on page 64, above UK Press Kit photo #4 of Tim Curry. The large photo of Robin, as far as I know, made its first appearance here. As she’s looking directly into the camera, I suspect it was taken at the same time as this pre-take shot, but since the background is cut out there’s just as good a chance it was taken at Pier 56.

The large image of Trini on page 65 looks to be from the same origin as that photo of Robin. Based on what I can make out of the lighting, I tend to think it’s from the outside location. It’s the only photo I’ve seen of Trini in that costume where she isn’t holding the boom box. The inset of the cops pushing Nicky into the back seat is another previously, and as far as I know, otherwise unpublished publicity still. The only matching shots in the film are from the opposite side of the car, and the film camera’s setup from this reverse angle is several feet to the left.

The shot of Robin as Nicky as Aggie Doone singing “Damn Dog” in the Cleo Club is yet another photo making its first appearance. But not its last… there’s a slightly better version yet to come.

So, amazingly, the Times Square publicity campaign was nearing its end, yet the places it was being published were being furnished with new material, despite it being highly unlikely that the local audiences would have seen any of the already-used photos. Unless, perhaps, the EMI/AFD publicity departments had decided that what they’d been doing was failing, and if they could only find the right photos, they could turn Times Square into a hit in the next country…

The back cover of Filmstar was a reproduction of the collage first published in Screen International No. 246 in June 1980 and used in February 1981 as the Australian movie poster, with the addition of Robin’s name in English. If there’s one thing all the local contemporary film publicity outlets agreed on, it’s that Robin herself was the most marketable aspect of the movie.
 

TIMES SQUARE Robin Johnson poster on the back cover of a movie magazine from Thailand

Posts mentioned above but not linked to:

Times Square Press Material folder (post 4 of 5)
Times Square UK Press Kit (post 2 of 4)
On Location
Times Square Program Book, Japan, June 1981, pages 20-24 (post 4 of 5)
Times Square Australian Daybill

 

 

Times Square (article, AAT ID: 300048715)
Filmstar Vol. 1 No. 3, 15 August 1981, pp. 63-66 (magazine (periodical), AAT ID: 300215389)
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Times Square ©1980 StudioCanal/Canal+

 

JUKE, No. 302, February 7, 1981

Posted on 16th October 2018 in "Times Square"

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Cover of an Australian music newspaper weekly containing several stories relating to TIMES SQUARE (1980)  Text:  JUKE  FEBRUARY 7, 1981  Issue No. 302  70 CENTS  "Registered for posting as Publication Category B"  TIMES SQUARE TO  CITY SQUARE  PLUS ROXY MUSIC SPECIALS  WILLIE NELSON  XTC TAYLOR/MANNING  SURFING  RUTS WILLIE NILE  IN CONCERT  Australian Crawl, Flowers, Midnight Oil, Jo Jo Zep & The Falcons, Mondo Rock

The soundtrack album cover image on the cover of Australia’s Juke no. 302 is the only Robin content in the issue, but it’s still a remarkable piece of Times Square history. In Melbourne at least, PolyGram Records promoted the heck out of the film’s premiere for an entire weekend, and the magazine gave away posters and copies of the soundtrack. If there’s anybody reading this who remembers any of this happening, I’d be very interested in hearing about it.

 
Photo of Tim Curry in an Australian music newspaper weekly containing several stories relating to TIMES SQUARE (1980).  Caption:  In the “Times Square” movie, Tim Curry plays an all night disc jockey who gives his listeners a  running account of the two runaway girls’ progress.

BIG PUSH ON ‘TIMES SQUARE’
By Brian Jones

To promote the opening of the Times Square movie in Melbourne this week, PolyGram Records have come up with a unique idea.

To take Time Square to the city square. Over the weekend they hired out the huge video screen at the Melbourne city square where excerpts of the movie were flashed with lots of plugs for the double soundtrack LP and other PolyGram product. If you caught the screening, you’d have noticed that JUKE Magazine got its whack of plugging as well.

To celebrate the release of the movie, not to mention Roxy Music coming into Melbourne (certainly a big plus in their promotion as Roxy are featured on the soundtrack as well!) JUKE is this week giving away 12 copies of the soundtrack LP. Write to “Times Square” competition, care of this magazine, and tell us three of the artists on the LP, with your name and address on the back of the envelope.

And for Melbourne readers, the first 20 to waltz up to the Juke offices during business hours and ask for it gets a special colour poster.

The movie, which premiers on Feb 5, is about two runaways who end up at Times Square in New York, and is produced by Robert Stigwood.

In the “Times Square” movie, Tim Curry plays an all night disc jockey who gives his listeners a running account of the two runaway girls’ progress.

Pages 6, 7, and 13 contained articles on three of the bands with songs on the soundtrack, one of whom (Roxy Music) was playing in Melbourne that week — although the interview with Phil Manzanera had been conducted a week previous, while the band was still in England. The articles are all branded with a big Times Square logo (unique to this magazine), but make absolutely no references to the movie. I’m reproducing the text below because they’re a bit of a window into the world the movie was being released into, but they have nothing to do with Times Square, and even less to do with Robin Johnson.

And note that one of the articles in the magazine was written by “Betty Page,” and another by “Brian Jones.” I don’t know what to make of that.

TIMES SQUARE
XTC in NEW YORK
Betty Page finds them slaving for the Yankee dollar

Once big in trousers, now big in the States? Five minutes into New York and the taxi driver (always good for copy, dese guys) wants to know in his best Brooklynese “are dey like da Beatles?”

Funny he should say that! Here’s the city mourning not only a death but the fact that any Beatles reunion of any sort is over, and you have XTC who have similar characters — Terry Chambers like Ringo (whacky/moody), Colin Moulding is a Paul (pretty bassist), Andy Patridge is a John with pebble specs and aggressive humour and Dave Gregory is George, the strong silent type with a schoolboy’s face.

Four individuals, churning out pop song after commercial pop song, yet experiencing the ultimate frustration of being denied enormous popular acclaim, after so much hard grafting.

Due to some particular warped business logic, XTC have been touring constantly for 20 weeks (although Andy reckons they haven’t stopped since 1977!) the last half of which has been spent in the USA. This tour’s had its peaks and troughs but, with the backing of the big guns at RSO, Black Sea has launched into the Top 100 and a prestigious support for the Cars at Madison Square Gardens.

I arrived to find the boys a bit ruffled (they’d just seen the sleeve of their next single ‘‘Sgt. Rock” botched by the art department into a variation of Corporal Clot) and homesick for home in Swindon. They’d just been to New Orleans and recounted the constant sun, desert and cacti of Arizona, “we’d only seen them drawn in the Beano (a British comic book — ed) and I made up some cactus jokes especially. What’s the difference between a Scotsman and a cactus? At least you can get a drink out of a cactus!”

The show on Long Island was lacklustre. Their superb soundman Steve Warren had quit after an argument with their manager, and it showed. So too did tour exhaustion. There was so much cussing that even the groupies held back! Groupies haven’t been a XTC forte but, for a band that virtually celebrates its ase-xuality, they now attract a particular brand of predatory females.

Andy: “It’s getting worse. Some of them are real elephant dogs! Others just want to show you their portfolios. I’d rather take to my bed with my plastic tanks”.

XTC are clearly very tired. Despite that, they had to fly back to Britain in a few days to start another tour, and they angrily knocked back offers to do a visit to Scandinavia.

“It’s just piled up since ’77” Andy explained. “I refuse to do anything for at least a couple of months. I want to work on some singles, concentrate on that before the next album.”

The next day was concentrated on doing interviews — and the American press still seem preoccupied with Barry Andrews, who left two years ago, and refer to Dave Gregory as “the newcomer”.

Dave takes it all in good humour. He talks about his dreams and nightmare. His nightmare is to come out on stage on day, plug in and “sound like Ted Nugent”. The dream is to own as many perfectly formed guitars as possible — maybe form his own guitar harem with all of them wearing veils! He tells of the time when they did a tour with Police, and manager Copeland ticked off XTC for not giving everything onstage. The talk made them think; now they gyrate onstage.

Andy was lambasted for “not wearing a decent shirt”. Couldn’t he afford one?

“To be frank, no!”

Not even Sting’s cast-offs?

“No! (recoils in horror) I’m living in that man’s shadow. Been in a bloody coach with him for eight weeks. He nicked all my ideas in the first place. All three of the Police used to come down the Fulham Greyhound (pub) and watch us. He said his favourite song was ‘All Along The Watchtower’ so you can see where they’re coming from!”

The Police spectre looms large. When Police travel the world and play exotic places like Bombay and Cairo, they’re huge. When XTC play the same places then they’re just working hard. Could XTC have such a superhero? Men in backrooms have toyed with the idea of making a sex symbol out of Colin Mulding, trundling him forward more often and pinching some limelight from Andy.

But isn’t Colin too passive, isn’t it too late for a change of image into some sort of double-fronted Cheap Trick style combo?

According to Andy, it’s already started to happen. “I think he’s got a lot more teen appeal than I’ll ever have. I always thought I looked like a tortoise who’d just had his shell ripped off! He comes forward already; he sings the singles, it’s him on Top Of The Pops, not me. I think people associate Colin with singing the singles. A lot of people think he’s our lead singer, those that know our singles. There’s a split identity.”

XTC are having a series of hit singles including “General And Majors”, “Living Through Another Cuba” and “Towers Of London” continually increasing their hit records. In England they have a passionate following but really no image except for Patridge’s cynical persona. In America, they can be easily manipulated; in fact, because all five have such strong personalities, a TV series of films could catapault them into the big time. As yet, America hasn’t decided if they’re clever, banal or intriguing; so they just love them!

First night at Madison Square Gardens. Patridge is nervous and limits his onstage patter. But they go down well. “The next band on is the Cars — don’t be too hard on them”. After a record company guy comes over and ticks them off, in case the Cars feel insulted. Wha-a-t! Come on, oh well, tough shit.

So the struggle goes on. They’re confident that they’ll break through, it takes a bit of time. But at the moment they’re all very tired and very homesick.

Andy: “I just want to re-evaluate our whole position. It may turn out that we may never tour again, hahaha, what a scoop! We’ve been whoring our arses up and down the world too much, it’s obviously, not the way to do it.

“We want to try and be a little bit more exclusive. We were rather lukewarmly received at home last time. We’ll be even more knackered this time. We do need to recharge our batteries, new ideas, new approaches, this really is the end-of-a-long-piece-of-knotted-string tour, the frayed end …”

I’VE GOT ROXY IN MY HEAD
TIMES SQUARE
Roxy Music’s Phil Manzanera Speaks to Vince Lovegrove

“If it weren’t for the Beatles I wouldn’t be playing music”, Phil Manzanera told me by phone one week before Roxy Music arrived in Australia.

“They were a great influence on all of us. You know, when you’re a certain age you really get excited by certain groups. But it’s a bummer about Lennon. A great tragedy. We’ve started doing a tribute to him. Sometimes we do “Jealous Guy”.

Manzanera had just rushed back to his hotel after a sellout concert in Manchester, England. The reason for the rush from the concert hall wasn’t to take my pre-arranged phone call, but to order some food before the hotel kitchen closed.

“It’s the typical rock scenario. Most hotel kitchens close early and then you can only order sandwiches. We have to get back from the gig in a hurry so that we can have a decent meal.

“New York’s different, of course. It’s a twenty four hour city. It’s a bit dangerous, but exciting and stimulating-for a short time”.

Phil Manzanera is an articulate, quietly spoken man … on a Manchester to Sydney telephone call, at least. Although I’m not a diehard Roxyite, I quite like the band, and found myself locked into Manzanera. In fact, as Bert Newton once said to Mohommad Ali, “I like the boy!”

I found his casual thoughts on rock’n’roll and life in general very honest and realistic. Not at all like rock’n’rollers whose conversations begins and ends with the ‘virtues’ of rock music.

In fact, from his early 1970 experimental days in Quiet Sun to his 1976 ‘one off’ album band 801, Manzanera has always seemed to me to be the one who has taken Roxy Music into the provocative areas of rock music. Obviously, Brian Eno added his eccentricity, but he has never really stayed within the confines of Roxy Music like Manzanera.

And it was Manzanera’s honesty that first told us about dissatisfaction within the group after their fourth album, Country Life.

And while it was Ferry who announced in 1976, that Roxy Music were about to enjoy a trial separation, it was Phil Manzanera who immediately rushed headlong into producing 801, ensuring that the genius of Brian Eno would finally be recognised outside the confines of Roxy Music.

“Actually, that was an incredible period. It made me realise just how much the business side of rock’n’roll can ruin the very essence of the music itself.

“It was the business side of it that stopped Roxy moving for three years.

“You get caught on this incredible momentum, that just doesn’t stop. You have to deliver an album, then go on tour to promote it, and by the time you’ve finished you’ve go to deliver another album. Consequently, you don’t get time to write any material.

“You get locked into a cocoon, getting transported around in an unreal world and just don’t get time to develop as a human being.

“We just had to stop the merry-go-round, get off and become human beings again”.

It was during that re-kindling period that Johnny Rotten spearheaded the movement that saved rock’n’roll from a pathetic, self indulgent, financially bloated, slow agonising death. And one of its staunchest supporters was Phil Manzanera.

“I think Johnny Rotten is a very interesting character. He has a great sense of humour. I admire him greatly.

“The entire punk movement was fantastic. It gave rock music a much needed kick in the arse. It provided heaps of enthusiasm, inspired amateurs and showed that anyone could start a group”.

In total contrast, it was the pure jazz/classical influences of English contemporary band Sky that smashed the snob inspired anti rock music feeling that once existed amongst highly trained, technical musicians.

“Rock isn’t about technical prowess, it’s about feel, “Manzanera enthused.

“Sky are great musos, and they smashed that anti rock snobbery”.

Did he know two members of Sky, Kevin Peak and John Williams were Australian?

“No, I didn’t”.

Roxy Music, during their ‘rest periods’ are quite a sporting bunch of fellas, and super whizz kid guitarist Phil Manzanera is no exception. He plays a lot of golf, tennis, and water skis when he can. That is, when he’s not spending time with his two dogs, two cats, several horses, or simply lounging around home with his pregnant wife listening to music.

And what sort of music would Phil Manzanera listen to?

“Well, I love UB40’s. They have great feel, fantastic lyrics, and memorable melodies. Then there’s Steely Dan — I love their new album. Bowie I like, Dire Straits, a band called Black Uhuru, and of course Talking Heads.

“But I think their latest album is more of an Eno album that a Heads set. They seem to have lost some of themselves, and given way to more of Brian”.

Well, I don’t know who’s going to pay for this bloody phone call. Maybe I should finish off.

After all, the group will be in Australia by the time I get off my backside and get it into Juke. And you can bet your last pair of safety pins that Roxy’s record company won’t pay for it. And I just KNOW the promoter won’t pay for it. I better finish. I’ll probably end up footing the bill again.

One last question, Phil. Is there anything special in Roxy Music’s staging this time around?

“As a matter of fact, there is. We have a very interesting stage set… not like anything else around at the moment. It’s electric in a mechanial sort of way. I won’t give it away, let me say that I still like looking at it after six months”.

LONDON CALLING
with Jillian Hughes
TIMES SQUARE
NO RUTS ABOUT IT

Very few bands are willing to carry on when their focal point leaves. When that person dies suddenly in an accident — or a heroin overdose as in the case of Malcolm Owen the lead singer of the Ruts — then it takes awhile to get over the shock.

But the Ruts, one of the original punk bands, came up trumps. Renaming themselves Ruts DC (DC stands for Da Capo which is Latin for “a new beginning”) they went back to their original audiences, tore them apart, and are now off to America to try their luck there. Meantime there’s also a new LP of old material called Grin and Bear It.

“Last summer was probably the worst time for us” says bassist Vince Segs, who has stepped in as their main vocalist. ‘‘We’ve always known that Malcolm was doing heroin. He also had problems with his throat, which just went on him. It was very frustrating for us, because we couldn’t work a lot of the time, and it was very frustrating for Malcolm, which is probably why he went back on the hard stuff again.

“The pressure was on us — everyone was aware that the kids out there wanted to hear us, but we were being held up. We started to drift apart.”

Right after Owen died, the Ruts came up with one of their best singles yet, ‘‘West One (Shine On Me)”. But partly because it was such a change from their rock-reggae, and partly because they made no appearances to promote it, the disc died. Then the Damned stepped in and took the three — the other two are drummer Dave Ruffy and guitarist Paul Fox — on tour with them, just to give them a helping hand. The Ruts re-discovered their audience, and found enough confidence to write new songs.

Grin and Bear It is seen by some as a shoddy cashing in on Malcolm’s death by their record company Virgin, well known for Sid Vicious/-Pistols re-issues.

“It is an album we put together for Malcolm’s memory, that’s all. We wanted it out, not the record company. We didn’t have enough studio material with Malcolm to make up an LP so we put in some live things. Some people say it’s a con because Ruts fans would have all the tracks.

“That’s not so. Fans wouldn’t have the live version of ‘Babylon’s Burning’ or the John Peel (radio) session recording of ‘Demolition Dancing’ — the LP’s not intended to tear about the charts, it’s just there for anyone who wants it. The album we aim for the charts is the one we start work on soon. If anything, we wanted to bring ‘Love in Vein’ back — it was hidden on the b-side of ‘Staring at the Rude Boys’ the first time.”

Ruts DC are touring and recording with a sessions sax/keyboards player called Garry Barnacle who was on their first LP The Crack as well as Grin and Bear It.

 

 

Juke No. 302, February 7, 1981 (weekly (publication) (AAT ID: 300312030))
44 x 28 cm.;
Brian Jones, Big push on ‘Times Square’; p. 5
Betty Page, XTC in New York; p. 6
Vince Lovegrove, I’ve got Roxy in my head; p. 7
Jillian Hughes, No Ruts about it; p. 13 (works);
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(images)
 
©1981 Newspress Pty. Ltd.

 

Times Square ©1980 StudioCanal/Canal+

 

SONIDO – la revista musical, No. 56, June 1981

Posted on 12th July 2018 in "Times Square"

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Mexican pop music magazine featuring article on TIMES SQUARE.  Text:  NUMERO 56  $30 00  SONIDO 'a musical  ROD STEWART THREE SOULS BEATLES DANGEROUS RHYTHM  ¡¡¡LA NUEVA EXPLOSION DEL ROCK PESADO¡¡¡

 

 

 

 

The June 1981 issue of the Mexican pop music magazine Sonido contained on pages 38 and 39 an article credited to “Vicco,” but which seems to be exactly the same kind of AFD/RSO-written publicity published in English in similar magazines a year before.

The article calls the film Times Square. It wasn’t released under that title in Mexico, though, as we shall see.

The accompanying photos are the ubiquitous TS-72-8A/14, TS-66-28/9, and TS-82-30[/4], all three of which were part of the US Press Material pack.

POR: vicco

TIMES SQUARE es un drama contemporáneo,con música estelarizada por los talentos de Tim Curry, cantante y actor británico que se dio a conocer con El show de terror de Rocky; Trini Alvarado, quien tuvo un importante papel en la película de Robert Altman Rich kids, y Robin Johnson, una actriz proveniente de Brooklin, muy dinámica y que canta también en su debut cinematográfico.

La película fue filmada en diversas locaciones de Nueva York, incluyendo el infame Deuce y es resaltada por veinte canciones originales ejemplificando algo de lo mejor del rock contemporáneo interpretadas por los más importantes artistas del momento, así como por las dos estrellas de la cinta, Robin Johnson y Trini Alvarado.

Times square retrata las desventuras de dos chiquillas rebeldonas, una proveniente de un ambiente sofisticado y, la otra, producto de las calles. Juntas desde el cuarto de un hospital neurológico comienzan una serie de bizarras escapadas y su comportamiento es reportado por un disc-jockey que trabaja toda la noche en una estación de radio y que las anima a seguir con sus trucos y logra convertirlas en celebridades menores de los medios. Ellas pasan sobre todas las autoridades llegando al climax en una escena sobre la marquesina del teatro Times Square con cientos de seguidores rindiendo su tributo.

Dicha cinta es una presentación de Robert Stigwood y fue producida por Stigwood y Jacob Brackman, dirigida por Alan Moyle, basada en una historia de Moyle y Leanne Unger. Kevin McCormick y John Nicollela son los productores ejecutivos y Bill Oakes es productor asociado.

LA MUSICA
En un momento en que la música de películas se encuentra entre los discos más populares y cuando ha sido entendida como un vehículo muy importante para la aceptación de una cinta, aparece un nuevo álbum doble en discos RSO con la música de la película Times square, uno de los más excitantes que han sido lanzados, pues no sólo captura el espíritu de la película, sino que es además una antología única de canciones interpretadas por los mejores artistas de rock del momento, tanto de Inglaterra como de Estados Unidos, incluyendo a Suzi Qautro, The Pretenders, Roxy Music, Gary Numan, The Talking Heads, Joe Jackson, The Patti Smith Group, XTC, The Cure, Lou Reed,The Ramones, The Ruts, David Johansen y muchos otros. ¡Es un álbum espectacular!

v

BY: vicco

TIMES SQUARE is a contemporary drama, with music, starring the talents of Tim Curry, singer and British actor who became known in The Rocky Horror Picture Show; Trini Alvarado, who had an important role in Robert Altman’s movie Rich Kids, and Robin Johnson, an actress from Brooklyn, very dynamic and who also sings in her film début.

The movie was filmed in diverse locations of New York, including the infamous Deuce, and it is highlighted by twenty original songs exemplifying some of the best contemporary rock performed by today’s most important artists, as well as by both stars of the film, Robin Johnson and Trini Alvarado.

Times Square portrays the misfortunes of two little girl rebels, one from a sophisticated environment and, the other one, a product of the streets. Together from the room of a neurological hospital they begin a series of bizarre escapades and their behavior is reported by a disc-jockey who works the overnight on a radio station and who encourages them to continue with their tricks and manages to turn them into minor media celebrities. They get past all the authorities, arriving at the climax in a scene on the marquee of the Times Square theatre with hundreds of followers paying tribute.

This film is a Robert Stigwood presentation and it was produced by Stigwood and Jacob Brackman, directed by Alan Moyle, based on a story by Moyle and Leanne Unger. Kevin McCormick and John Nicollela are the executive producers and Bill Oakes is the associate producer.

THE MUSIC

At a time when movie soundtracks are among the most popular records and when they have been understood as a very important vehicle for the acceptance of a film, a new double album appears on RSO Records with the music of the movie Times Square, one of the most exciting to be released, since it not only captures the spirit of the movie, but it is also a unique collection of songs performed by today’s greatest rock artists, from both England and the United States, including Suzi Qautro, The Pretenders, Roxy Music, Gary Numan, The Talking Heads, Joe Jackson, The Patti Smith Group, XTC, The Cure, Lou Reed, The Ramones, The Ruts, David Johansen and many others. It is a spectacular album!

v

 

 

vicco, “Cine-rock : Times Square” (article), AAT ID: 300048715)
SONIDO la revista musical, No. 56, June 1981, pp. 38-39 (magazine (periodical), AAT ID: 300215389)
20.2 (W) x 27.8 cm. (H), 64 pp (work);
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SONIDO la revista musical ©1981 Corporación Editorial, S.A.

 

Times Square ©1980 StudioCanal/Canal+

 

Film Review Vol. 31 No. 2, February 1981

Posted on 30th June 2018 in "Times Square"

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Cover (p. 1) of Film Review Vol 31 No 2 February 1981

Contents entry from Film Review Vol 31 No 2 February 1981, contents page (p. 3)  text:  47 TIMES SQUARE Adventures of two teenage girls (Robin Johnson and Trini Alvarado) and all-night disc jockey Tim Curry who gives a boost to their dream of rock stardom.

Times Square probably hadn’t had its January 15th opening yet when the February issue of Film Review came out. Unlike the article in the previous month’s issue, this isn’t a review at all, but a promotional summary of the film, with the exception of the backhanded compliment that most of the movie’s appeal is in the casting of Robin and Trini.

Film Review Vol 31 No 2 February 1981, p. 47  text:  HARD TIMES  Times Square is a movie about youth. New York and rebellion — with a prominent soundtrack of New Wave music. Two girls, from totally opposite backgrounds, find themselves thrown together in the same private ward undergoing psychiatric tests. In spite of their initial incongruity, the girls find a common link in that they have both been misunderstood for most of their young lives. In retaliation they escape their remedial surroundings and disappear into the heart of the Big Apple.  Nicky Marotta, the stronger, older and more street-wise of the two girls, instils a rebelliousness into the weaker, 12-year-old Pamela Pearl, and together they form a united attack against everything Pamela's father, and the bourgeois in general, stand for. Not before long the daring duo earn a certain infamy following a series of amusing and some rather more destructive pranks, including pilfering on the one hand and the levering of television sets off the top of New York apartment blocks on the other. With the assistance of a sympathetic DJ, the girls also gain air time and a wider notoriety, and are even allowed to sing their protest songs over the radio.  If it hadn't been for the casting of 15-year-old newcomer Robin Johnson as Nicky and Trini Alvarado (who played the lead in Robert Altman's Rich Kids) as Pamela, the film might well have lost a lot of the appeal it has. Tim Curry completes the billing as the DJ up against more than he can handle, with Peter Coffield as Pamela's short-sighted father.  Times Square is an EMI release and was directed by Alan Moyle, with songs by The Pretenders, Lou Reed, Suzi Quatro, Robin Johnson, and many others.  Times Square can also lay claim to being the first major release to present a look at New Wave music.  Tim Curry as the late-night DJ Robin Johnson as the rebellious Nicky Trini Alvarado as the introverted Pamela

HARD TIMES

Times Square is a movie about youth. New York and rebellion — with a prominent soundtrack of New Wave music. Two girls, from totally opposite backgrounds, find themselves thrown together in the same private ward undergoing psychiatric tests. In spite of their initial incongruity, the girls find a common link in that they have both been misunderstood for most of their young lives. In retaliation they escape their remedial surroundings and disappear into the heart of the Big Apple.

Nicky Marotta, the stronger, older and more street-wise of the two girls, instils a rebelliousness into the weaker, 12-year-old Pamela Pearl, and together they form a united attack against everything Pamela’s father, and the bourgeois in general, stand for. Not before long the daring duo earn a certain infamy following a series of amusing and some rather more destructive pranks, including pilfering on the one hand and the levering of television sets off the top of New York apartment blocks on the other. With the assistance of a sympathetic DJ, the girls also gain air time and a wider notoriety, and are even allowed to sing their protest songs over the radio.

If it hadn’t been for the casting of 15-year-old newcomer Robin Johnson as Nicky and Trini Alvarado (who played the lead in Robert Altman’s Rich Kids) as Pamela, the film might well have lost a lot of the appeal it has. Tim Curry completes the billing as the DJ up against more than he can handle, with Peter Coffield as Pamela’s short-sighted father.

Times Square is an EMI release and was directed by Alan Moyle, with songs by The Pretenders, Lou Reed, Suzi Quatro, Robin Johnson, and many others.

Times Square can also lay claim to being the first major release to present a look at New Wave music.

Tim Curry’s photo is UK Press Kit photo #4, which had been previously published in Mediascene Prevue Vol. 2 No. 2, Sept.-Oct. 1980, and The Aquarian, April 23-April 30 1980. Robin’s is TS-57-26/1 from the US Press Material folder, which was used for both the soundtrack album cover and the North American movie posters, and published, oh, lots of places previously. Seriously, I’m sure I’ve already listed them somewhere. Maybe next time it turns up I’ll do another reassessment, but not today.

The unusually sultry photo of Trini, however, hasn’t appeared anywhere else, as far as I know.

 

Why did I say earlier that the movie hadn’t opened yet? Because there was an ad announcing its opening on page 10.

TIMES SQUARE movie advertisement, from Film Review Vol 31 No 2 February 1981, p. 10

This is the exact same ad I posted on December 7, 2016. Yes, we now know that someone cut up a copy of this magazine and sold the pieces, and yep, I bought one. It’s a shame that these artifacts tend to be worth more sold by the half-page, but here we are.

 

(Yeah, this post should have gone up over a year ago, probably between Films Illustrated, Vol. 10 No. 113 and Movie 81 No. 2. I had everything ready to go, and somehow accidentally passed over it. Well, here it is now.)

 

The previous posts mentioned above (except for the many soundtrack and poster variants):

Film Review, Vol. 31 No. 1, January 1981
Times Square UK Press Kit (post 2 of 4)
Times Square isn’t a punk picture”
“The Trend Settles in New York”
Times Square Press Material folder (post 1 of 5)
UK Movie Ad
Films Illustrated, Vol. 10 No. 113
Movie 81 No. 2

 

 

Hard times (article, AAT ID: 300048715)
Film Review Vol. 31 No. 2, February 1981, p. 47 (magazine (periodical), AAT ID: 300215389)
29.6 x 21.2 cm. (work);
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Times Square ©1980 StudioCanal/Canal+

 

Record World, Vol. 37 No. 1729, September 13, 1980

Posted on 1st May 2018 in "Times Square"

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Back cover of Record World Vol. 37 No. 1729, September 13, 1980, p. 126.  Text:  JUST RELEASED The Original Soundtrack from the Motion Picture TIMES  SQUARE A Robert Stigwood Production A 2-RECORD SET Featuring Music by... SUZI QUATRO, THE PRETENDERS, ROXY MUSIC, GARY NUMAN, MARCY LEVY & ROBIN GIBB, TALKING HEADS, JOE JACKSON, XTC, THE RAMONES, ROBIN JOHNSON & TRINI ALVARADO, THE RUTS, D.L. BYRON, LOU REED, DESMOND CHILD & ROUGE, GARLAND JEFFREYS, THE CURE, PATTI SMITH GROUP, DAVID JOHANSEN RS-4-4203 INCLUDES THE FIRST SINGLE: "Rock Hard" by Suzi Quatro DL-104 RSO Records, Inc. ® ©1980 RSO Records, Inc.

 

 

 

 

 

 

 

 

 

Most of the “new” items that turn up now are variations of things we’ve already seen. This Times Square soundtrack ad is identical to the ones shown here, but unlike those two it’s still attached to the magazine it was published in. It’s page 126, the back cover, of Record World Vol. 37 No. 1729 from September 13, 1980, a recording industry trade publication, which also has an announcement of the soundtrack on the front cover…

 

 

… and coverage of the soundtrack’s announcement at 1980’s RSO Convention, featuring an appearance by Suzi Quatro.

The most intriguing thing in the article, however, is this:

A forty-minute video presentation highlighting key scenes and music from the motion picture was shown.

There was a promotional video nearly half the length of the entire film!

This was published a month before the movie’s premiere, and only says the event happened “recently.” The five-and-a-half minute in-store soundtrack promo video contains many brief tantalizing clips of footage not in the movie… who knows what lost footage might have appeared in the RSO Convention promo video!

 

 

“Hits of the Week -Albums – “TIMES SQUARE” (Original Motion Picture Soundtrack).” (article, AAT ID: 300048715)
“‘Times Square,’ ‘Shogun’ Soundtracks Previewed at RSO National Convention” (article, AAT ID: 300048715)
[Just released – the original soundtrack from the motion picture Times Square] (advertisement, AAT ID: 300193993)
Record World, Vol. 37, No. 1729, September 13, 1980, pp. 1, 9, 118, 126 (magazine (periodical), AAT ID: 300215389)
32.4 x 24.3 cm., 126 pp (work);
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Record World ©1980 RECORD WORLD PUBLISHING CO., INC.
Times Square ©1980 StudioCanal/Canal+

 

Dolly No. 128, June 1981

Posted on 15th January 2018 in "Times Square"

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“I love to sing but whether people like to hear me, is another matter.”

The cover of Dolly No. 128, June 1981 teasing story "Robin Johnson - From High School to Hollywood"

 

 

 

Times Square was a distant memory in the US in June 1981, when Dolly No. 128 came out in Australia. Alison Gardner’s interview with Robin covers little new ground, repeating Robin’s discovery on the steps of Brooklyn Tech and her then-still upcoming movie projects, although it does add a few little terrific tidbits like the fact that her discoverer wasn’t part of the Times Square production staff; the date she was officially cast; and that the first thing she was asked to do was lose five pounds. And most tantalizing, that there were the beginnings of plans for her to record an album, to be made between Grease 2 and her third film.

 

 

 

 

 

An article about Robin in the Australian magazine Dolly (#128, June 1981).  This is pages 56 & 57, containing four color photographs not published elsewhere.  Text:  Robin Johnson - from high school to Hollywood  Seventeen-year-old Robin is every girl's dream come true ... She was "discovered" and turned into a star. One day Robin was watching films, the next day she was in them. How did it happen? Alison Gardner asked her  Bnow, 17-year-old Robin Johnson, star of the film Times Square, should need no introduction ... Even if you haven't seen the film yet, you can't possibly have missed all of the press coverage Robin received when she visited Australia a few months ago. Robin was big news in all of the papers, who were keen to tell her story and, on TV talk shows, where Robin was invited for a chat, interviewers couldn't get a word in edgeways as she recounted her rise to stardom. You see, it wasn't so much Robin's part in Times Square that everyone was interested in but how she got the part in the first place. Before Times Square, Robin had never acted in her life, not even in a school play. Now she has a three-film contract with the Robert Stigwood Organisation in America and her second film — due to start shooting later this year — is the follow-up to Grease. Robin has the female lead part opposite Andy Gibb. Stories of shy young girls being plucked from the streets and made into Hollywood stars have filled reels and reels of film but Robin's discovery — which would make a great film itself — isn't quite so saccharine-sweet. To begin with, Robin is not shy — as I soon found out when I met her. I am not the first journalist to comment on Robin's ability to talk ... and talk ... and talk, seemingly without ever pausing for breath. Robin herself knows she talks a lot but shrugs it off as if to say "So what? It's no crime". It certainly isn't a crime, not if you talk like Robin Johnson. Oh, her English isn't perfect but then, if you lived in Brooklyn (New YYork) yours wouldn't be, either. Her voice is deep and a bit hoarse and her hands fly everywhere as she speaks, which made it necessary for me to sit well away from her as we talked. But Robin is a rare species from the acting world because she is in¬teresting to talk to and totally unin¬hibited; she is witty, intelligent, cheeky, polite and great fun. She seemed to treat her sudden fame a bit like a new toy and she was having great fun playing with it ... Travelling around the world to promote Times Square gave Robin great joy and she was ready and willing to answer any questions I asked her. So, first off, how did she — a high school kid whose closest contact with showbiz was as part of the audience at the movies — get the part of the rough-and-ready Nicky Marotta? "Well, it's very conveniently Hollywood," Robin said, sounding almost disgusted with this fact. "I was literally discovered on the steps of my high school by a talent-scout. "I was standing outside the school with a friend and I heard this guy say to me: 'Would you be about 16?' I said: 'You talking to me?' I mean, what a way to approach someone! There are not too many things that are weird for New York but that's weird. "Anyway, he asked me again if I was about 16 and when I told him I was, he told me about this advertisement that was in a paper called The Village Voice for auditions for the film, Times Square. He said he thought I would be right for the part of Nicky Marotta. At first I thought the guy was a nut but he talked in detail about the film for an hour and I figured he couldn't be making it all up. "In the end, he gave me a card with a phone number on it and said if I was interested I was to phone the following Monday and ask to speak to Jake — who turned out to be the producer and screen-writer." Robin hasn't seen the guy who "discovered" her, since. She later found out that he wasn't connected with the casting for Times Square. "He hasn't even come asking for his 10 per cent fee and I'm surprised about that," Robin said. Anyway, Robin called the number that Monday and her life has never been the same since. "Before this I had never thought about acting as a career," Robin told me. "Maybe in a wild thought, like 'Gee, it would be nice to be an actress' but never seriously. Me? In a movie? You've got to be kidding. ►Dolly (incorporating Beaut) No.128, June 1981, p. 58 - 3rd page of an article about Robin Johnson - right column only (advertisements cropped out)  Text:  lose and everything to gain. I had the summer holidays stretching out in front of me and nothing to do so I was looking for ways to keep busy." Well, the auditions certainly kept Robin busy, not just for a day or a week, either . . . There was over 2000 girls auditioning for the part of Nicky Marotta but, by the end of the summer and after 20 different auditions, Robin was told she had the part. "On August 24, 1979," Robin announced, her voice taking on a very dramatic tone, "the casting agency called me and said: 'You've got the part. Now lose 4kg and we'll talk about it next week'. So, that was it — that's why I'm sitting here talking to you." The fact that Robin did get the part, that the film has been a huge success, that she — the gum-chewing, fast-talking kid from Brooklyn — has been marked as a talent to watch in the future has not knocked her off-balance one little bit. She is not, she says emphatically, impressed by Hollywood. She doesn't even like it there. "In Los Angeles the people are so laid-back, they're half dead!" Robin said. "I like the work I'm in now but I'm not overwhelmed by the people I meet and the places I get to visit. "Anyone who hasn't been involved in films thinks it's glamorous . . . But what's so glamorous about being in the Hudson River in the middle of winter? That's where I had to be for one of the scenes in Times Square! You can get typhoid and pneumonia from that! It was only 10 degrees — I thought I had frost-bite!" However, before Robin got involved in the film business, there was a lot she didn't know herself. "It's so complicated," she told me. "I didn't know that actors had to do scenes over and over again. It's a bit hard to do the same scene 15 times because it loses spontaneity. But I had a ball making the film. "I don't think I could settle in a nine till five job after this. It's so interesting. Before all of this I wanted to be a lawyer. I would have graduated from school and gone to college but now those plans have been pushed into the background." Robin's third film, which she will make after filming the sequel to Grease, has not been decided on yet. To keep her busy, though, there may be an album. "I love to sing but whether people like to hear me, is another matter," Robin said, smiling. Acting is another love of Robin's now and something that she says she didn't find very hard, despite her lack of practical experience. "I didn't think about what I was doing, I just did it," she told me. "That I didn't have to change my accent or mannerisms for the part helped, too," Robin added. Robin saw a few similarities between herself and Nicky Marotta, the main one being their rebelliousness. "All teen-agers are rebellious at some stage but I think I am permanently rebellious," Robin laughed. "I don't like authority. I can take it from my mother but no one else. "In the film, Nicky likes to do outrageous things and I have done some things like that — although not quite to Nicky's extreme. I'm more stable than Nicky is and more secure, too. I have a great family life." Unlike Nicky, too, Robin's future is definitely rosy. True, she isn't any Brooke Shields or Tatum O'Neal but then that's their problem, not Robin's . . . She has lots of talent and a style all her own and I think it's going to take her a long, long way.

Robin Johnson – from high school to Hollywood

Seventeen-year-old Robin is every girl’s dream come true … She was “discovered” and turned into a star. One day Robin was watching films, the next day she was in them. How did it happen? Alison Gardner asked her

 
By now, 17-year-old Robin Johnson, star of the film Times Square, should need no introduction … Even if you haven’t seen the film yet, you can’t possibly have missed all of the press coverage Robin received when she visited Australia a few months ago.

Robin was big news in all of the papers, who were keen to tell her story and, on TV talk shows, where Robin was invited for a chat, interviewers couldn’t get a word in edgeways as she recounted her rise to stardom.

You see, it wasn’t so much Robin’s part in Times Square that everyone was interested in but how she got the part in the first place. Before Times Square, Robin had never acted in her life, not even in a school play. Now she has a three-film contract with the Robert Stigwood Organisation in America and her second film — due to start shooting later this year — is the follow-up to Grease. Robin has the female lead part opposite Andy Gibb.

Stories of shy young girls being plucked from the streets and made into Hollywood stars have filled reels and reels of film but Robin’s discovery — which would make a great film itself — isn’t quite so saccharine-sweet.

To begin with, Robin is not shy — as I soon found out when I met her. I am not the first journalist to comment on Robin’s ability to talk … and talk … and talk, seemingly without ever pausing for breath. Robin herself knows she talks a lot but shrugs it off as if to say “So what? It’s no crime”.

It certainly isn’t a crime, not if you talk like Robin Johnson. Oh, her English isn’t perfect but then, if you lived in Brooklyn (New York) yours wouldn’t be, either. Her voice is deep and a bit hoarse and her hands fly everywhere as she speaks, which made it necessary for me to sit well away from her as we talked. But Robin is a rare species from the acting world because she is interesting to talk to and totally uninhibited; she is witty, intelligent, cheeky, polite and great fun.

She seemed to treat her sudden fame a bit like a new toy and she was having great fun playing with it … Travelling around the world to promote Times Square gave Robin great joy and she was ready and willing to answer any questions I asked her. So, first off, how did she — a high school kid whose closest contact with showbiz was as part of the audience at the movies — get the part of the rough-and-ready Nicky Marotta?

“Well, it’s very conveniently Hollywood,” Robin said, sounding almost disgusted with this fact. “I was literally discovered on the steps of my high school by a talent-scout.

“I was standing outside the school with a friend and I heard this guy say to me: ‘Would you be about 16?’ I said: ‘You talking to me?’ I mean, what a way to approach someone! There are not too many things that are weird for New York but that’s weird.

“Anyway, he asked me again if I was about 16 and when I told him I was, he told me about this advertisement that was in a paper called The Village Voice for auditions for the film, Times Square. He said he thought I would be right for the part of Nicky Marotta. At first I thought the guy was a nut but he talked in detail about the film for an hour and I figured he couldn’t be making it all up.

“In the end, he gave me a card with a phone number on it and said if I was interested I was to phone the following Monday and ask to speak to Jake — who turned out to be the producer and screen-writer.”

Robin hasn’t seen the guy who “discovered” her, since. She later found out that he wasn’t connected with the casting for Times Square. “He hasn’t even come asking for his 10 per cent fee and I’m surprised about that,” Robin said.

Anyway, Robin called the number that Monday and her life has never been the same since.

“Before this I had never thought about acting as a career,” Robin told me. “Maybe in a wild thought, like ‘Gee, it would be nice to be an actress’ but never seriously. Me? In a movie? You’ve got to be kidding.

“But when I thought about it I figured I might as well phone. I had nothing to lose and everything to gain. I had the summer holidays stretching out in front of me and nothing to do so I was looking for ways to keep busy.”

Well, the auditions certainly kept Robin busy, not just for a day or a week, either . . . There was over 2000 girls auditioning for the part of Nicky Marotta but, by the end of the summer and after 20 different auditions, Robin was told she had the part.

“On August 24, 1979,” Robin announced, her voice taking on a very dramatic tone, “the casting agency called me and said: ‘You’ve got the part. Now lose 4kg and we’ll talk about it next week’. So, that was it — that’s why I’m sitting here talking to you.”

The fact that Robin did get the part, that the film has been a huge success, that she — the gum-chewing, fast-talking kid from Brooklyn — has been marked as a talent to watch in the future has not knocked her off-balance one little bit. She is not, she says emphatically, impressed by Hollywood. She doesn’t even like it there.

“In Los Angeles the people are so laid-back, they’re half dead!” Robin said. “I like the work I’m in now but I’m not overwhelmed by the people I meet and the places I get to visit.

“Anyone who hasn’t been involved in films thinks it’s glamorous . . . But what’s so glamorous about being in the Hudson River in the middle of winter? That’s where I had to be for one of the scenes in Times Square! You can get typhoid and pneumonia from that! It was only 10 degrees — I thought I had frost-bite!”

However, before Robin got involved in the film business, there was a lot she didn’t know herself.

“It’s so complicated,” she told me. “I didn’t know that actors had to do scenes over and over again. It’s a bit hard to do the same scene 15 times because it loses spontaneity. But I had a ball making the film.

“I don’t think I could settle in a nine till five job after this. It’s so interesting. Before all of this I wanted to be a lawyer. I would have graduated from school and gone to college but now those plans have been pushed into the background.”

Robin’s third film, which she will make after filming the sequel to Grease, has not been decided on yet. To keep her busy, though, there may be an album.

“I love to sing but whether people like to hear me, is another matter,” Robin said, smiling.
Acting is another love of Robin’s now and something that she says she didn’t find very hard, despite her lack of practical experience.

“I didn’t think about what I was doing, I just did it,” she told me. “That I didn’t have to change my accent or mannerisms for the part helped, too,” Robin added.

Robin saw a few similarities between herself and Nicky Marotta, the main one being their rebelliousness.

“All teen-agers are rebellious at some stage but I think I am permanently rebellious,” Robin laughed. “I don’t like authority. I can take it from my mother but no one else.

“In the film, Nicky likes to do outrageous things and I have done some things like that — although not quite to Nicky’s extreme. I’m more stable than Nicky is and more secure, too. I have a great family life.”

Unlike Nicky, too, Robin’s future is definitely rosy. True, she isn’t any Brooke Shields or Tatum O’Neal but then that’s their problem, not Robin’s . . . She has lots of talent and a style all her own and I think it’s going to take her a long, long way.

Most of the articles in the magazine have a photographer credit. This one doesn’t, which is unfortunate, since the four photos of Robin accompanying the article never appeared anywhere else. At first I thought they might come from the same source as the Mirrorpix shots from March 1981, but on closer examination, I don’t think so. Her outfits are less baffling and more just 1980s in style, and most telling, the shape of her eyebrows is entirely different.

Alison Gardner has at least two other articles in this issue of Dolly, so it would seem she was one of the main staff writers, if not the main one. She vividly describes what it’s like to talk to Robin in person, but also mentions that Robin had been in Australia several months before. While it’s possible Dolly had a travel budget big enough to cover a round trip flight to New York for a story billed sixth on the cover, I think it’s more likely that the interview was actually a few months old.

But if there’s one big takeaway from this, it’s that Robin seems to have made a bigger splash in Australia than anywhere else in the world.

 

 

Alison Gardner, “Robin Johnson – from high school to Hollywood” (article), AAT ID: 300048715)
Dolly (incorporating Beaut), No. 128, June 1981, pp. 56-58 (magazine (periodical), AAT ID: 300215389)
20.2 (W) x 27.8 cm. (H), 100 pp (work);
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Dolly (incorporating Beaut) ©1981 Sungravure Pty Ltd

 

Times Square ©1980 StudioCanal/Canal+

 

 

The Australian Women’s Weekly, Vol. 48 No. 45, April 15, 1981

Posted on 13th December 2017 in "Times Square"

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Australian entertainment magazine featuring article on Robin Johnson.

 

The April 15, 1981 Australian Women’s Weekly featured Larry Hagman on the cover, a pin-up poster of Adam and the Ants on the inside back cover, and an interview with Robin on page 119. The interview goes over much the same ground as most of the previous interviews she gave: her discovery on the steps of Brooklyn Tech, her working relationships with Trini Alvarado and Tim Curry, her outspoken behavior towards all and sundry while her mom waits in the next room… This interview is maybe most notable for mentioning a television appearance on The Don Lane Show in Melbourne. I don’t suppose anyone managed to record it, back in 1981…?

 

Australian Women's Weekly, Vol 48 No. 45, April 15, 1981, p. 119 Text: Good times for Robin She’s brash, talks non-stop, chain-smokes and is the most unlikely 15-year-old movie star. Robin Johnson, who shot to stardom in the movie Times Square, is New York-born and lives not far from Times Square. Like most teenagers of the area, she’s worldly-wise and a little over-powering. “Discovered” on the steps of her school, Brooklyn High, by a talent scout who gave her the usual line about looking for someone just like her for a movie, Robin wrinkled her nose in disgust. “He gave me a number to call and it led to a screen test. I really don’t know why I rang. At the time I’d thought he was such a jerk,” Robin says. But Robert Stigwood was impressed with Robin’s personality and signed her to star in a total of three movies during the next 18 months. “There is a sequel to Grease which I’ll be doing with Andy Gibb, but it definitely won’t be a Son Of Grease or anything. It’s a sequel, but with entirely new characters, and I won’t be an Olivia Newton-John clone,” she says. The third movie is “still being shopped for” but Robin is happy to sit back and wait for it. After all, promoting her first film has taken her all over the world and she contentedly talks and talks, with her mum tactfully sitting in the next room safely out of earshot. Raising a daughter as outgoing as Robin hasn’t been easy — her mother has no say over the cigarettes or the hours Robin keeps. When she appeared on The Don Lane Show in Melbourne, even Don sat stunned while Robin alternately flicked her hair back and made outrageous remarks about the film industry or her life in general. And then there was the time she had dinner with a group of business executives to promote her movie. Promote she did — Robin talked louder and faster than anyone else. “My sister is a lot quieter than I am,” she giggles. “She doesn’t hang around the streets as much as I and some of my friends do, but we get along really well. “The movie Times Square is a little unrealistic in that Trini Alvarado (who plays Pamela Purl in the movie) and I are never approached, assaulted or mugged in any of the scenes where we walk the streets,” Robin says. “But at home, we really have to protect ourselves. You’ve got to at least have a knife on you, to use if need be.” Tim Curry, one of Britain’s top actors, who recently starred in the ABC-TV series Will Shakespeare, played the crazed disc jockey Johnny La Guardia in Times Square. How did Robin enjoy working with the classically-trained actor? It seems an uncomfortable question, and Robin paused. “He was terrific you know. Tim’s a method actor and, whereas Trini and I would clown around between takes, he’d keep to himself. “I sometimes got the impression he thought we were real silly through the movie and he’d snap at us, but that was usually before a difficult scene. Afterwards, he’d be nice and friendly and we got on fine. “The kids at school were fascinated by him because he’s something of a cult figure because of his role in the Rocky Horror Picture Show. “But he’s a real straight guy, you know, and I consider him a real friend,” Robin says. Life for Robin will not really change even if she is recognized every time she gets a bus or catches the subway in New York. She is happy to work in films, but will finish her education because “it’s important. Our school is pretty rough — racism is a terrible problem — but I’ve always kept my head down and done my work. I’m conscientious and I like to do well.” - FIONA MANNING Above left: The reflection of a misunderstood rebel, Nicky Marotta (played by Robin Johnson) in Times Square. Above: Robin is almost as brash off-screen as she is on. THE AUSTRALIAN WOMEN’S WEEKLY - TV WORLD - APRIL 15, 1981 119

Good times for Robin

She’s brash, talks non-stop, chain-smokes and is the most unlikely 15-year-old movie star. Robin Johnson, who shot to stardom in the movie Times Square, is New York-born and lives not far from Times Square. Like most teenagers of the area, she’s worldly-wise and a little over-powering.

“Discovered” on the steps of her school, Brooklyn High, by a talent scout who gave her the usual line about looking for someone just like her for a movie, Robin wrinkled her nose in disgust.

“He gave me a number to call and it led to a screen test. I really don’t know why I rang. At the time I’d thought he was such a jerk,” Robin says.
But Robert Stigwood was impressed with Robin’s personality and signed her to star in a total of three movies during the next 18 months.

“There is a sequel to Grease which I’ll be doing with Andy Gibb, but it definitely won’t be a Son Of Grease or anything. It’s a sequel, but with entirely new characters, and I won’t be an Olivia Newton-John clone,” she says.

The third movie is “still being shopped for” but Robin is happy to sit back and wait for it.

After all, promoting her first film has taken her all over the world and she contentedly talks and talks, with her mum tactfully sitting in the next room safely out of earshot.

Raising a daughter as outgoing as Robin hasn’t been easy — her mother has no say over the cigarettes or the hours Robin keeps.

When she appeared on The Don Lane Show in Melbourne, even Don sat stunned while Robin alternately flicked her hair back and made outrageous remarks about the film industry or her life in general.

And then there was the time she had dinner with a group of business executives to promote her movie. Promote she did — Robin talked louder and faster than anyone else.

“My sister is a lot quieter than I am,” she giggles. “She doesn’t hang around the streets as much as I and some of my friends do, but we get along really well.

“The movie Times Square is a little unrealistic in that Trini Alvarado (who plays Pamela Purl in the movie) and I are never approached, assaulted or mugged in any of the scenes where we walk the streets,” Robin says.

“But at home, we really have to protect ourselves. You’ve got to at least have a knife on you, to use if need be.”

Tim Curry, one of Britain’s top actors, who recently starred in the ABC-TV series Will Shakespeare, played the crazed disc jockey Johnny La Guardia in Times Square. How did Robin enjoy working with the classically-trained actor? It seems an uncomfortable question, and Robin paused. “He was terrific you know. Tim’s a method actor and, whereas Trini and I would clown around between takes, he’d keep to himself.

“I sometimes got the impression he thought we were real silly through the movie and he’d snap at us, but that was usually before a difficult scene. Afterwards, he’d be nice and friendly and we got on fine.

“The kids at school were fascinated by him because he’s something of a cult figure because of his role in the Rocky Horror Picture Show.

“But he’s a real straight guy, you know, and I consider him a real friend,” Robin says.

Life for Robin will not really change even if she is recognized every time she gets a bus or catches the subway in New York. She is happy to work in films, but will finish her education because “it’s important. Our school is pretty rough — racism is a terrible problem — but I’ve always kept my head down and done my work. I’m conscientious and I like to do well.”

– FIONA MANNING

Photo of Robin Johnson from Australian Women's Weekly, Vol 48 No. 45, April 15, 1981, p. 119.  Caption:  Robin is almost as brash off-screen as she is on..

 

 

 

The other notable thing about this article are the accompanying photos. There are very few promo photos from Times Square where the subject is looking directly at the camera, but these are two of them. One is a close-up of Robin in costume for the chase-through-the-Adonis-Theatre scene, which as far as I know was never published anywhere else. (I would love to see it uncropped; it wouldn’t surprise me if Trini was standing right next to her.)

 

Photo of Robin Johnson from Australian Women's Weekly, Vol 48 No. 45, April 15, 1981, p. 119, possibly from a deleted scene from TIMES SQUARE. Caption: The reflection of a misunderstood rebel, Nicky Marotta (played by Robin Johnson) in Times Square.

 

 

 

The other will appear later in the Japanese program book, cropped and in black and white. While it may simply be a publicity photo, I suspect it’s evidence of another sequence shot and cut from the film: the 1979 screenplay includes a scene of Nicky in a holding room, performing in front of an observation window that could easily have been redressed as a one-way mirror. Robin had described improvising a scene in front of a one-way mirror as being part of her audition, in an interview in Seventeen magazine.

I think the similarity in the titles between this and the Paul Wilson column segment in the April 1981 photoplay is a coincidence.

 

 

Fiona Manning, “Good times for Robin” (article), AAT ID: 300048715)
Australian Women’s Weekly, Vol. 48 No. 45, April 15 1981, p. 119 (magazine (periodical), AAT ID: 300215389)
28.3 cm (H) x 21.5 cm (W) (work);
1981-04-15 Australian Women’s Weekly Vol 48 No 45 cover_1080px.jpg (cover)
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1981-04-15 Australian Women’s Weekly Vol 48 No 45 p 119_1080px.jpg
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1981-04-15 Australian Women’s Weekly Vol 48 No 45 p 119_detail_2_800px.jpg (large photo)
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1981-04-15 Australian Women’s Weekly Vol 48 No 45 p 119_detail_1_800px.jpg (inset photo)
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The Australian Women’s Weekly ©1981 Australian Consolidated Press Ltd

 

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