=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 3, Issue 11 - August 31, 1991 DDDDD D D D D GGGG D D G DDDDD G GGG G G GGG A Debbie Gibson Discussion Forum =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CONTENTS * ADMINISTRATIVE NOTES * CHICAGO CONCERT REVIEW - John Shew * SEATTLE AND SALEM CONCERT REVIEWS - Michael Scheele * LA TIMES ANAHEIM CONCERT REVIEW - Edwin Nomura * A FEW WORDS ABOUT THE CA SHOWS - Edwin Nomura * SPECIAL OLYMPICS GALA - Sandy Chen * WITHOUT YOU REVISITED - Sandy Chen * CABOODLES TV COMMERCIAL - Sandy Chen * A BRIEF CHAT WITH DEBORAH - Matthew Jung * IN THE STILL OF THE NIGHT - Shaun Stuart * QUESTIONS AND ANSWERS * CLOSING REMARKS =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ADMINISTRATIVE NOTES Please send all submissions to ez000018@bullwinkle.ucdavis.edu and include the word 'SUBMISSION' as the subject. If you do not get a note indicating that we have received your submission within a few days, please remail it. DISCLAIMER : **************************************************************************** This forum does not necessarily reflect the views of Deborah Ann Gibson, Gibson Management Inc. (GMI), the Atlantic Recording Corporation, or any organizations to which members belong or represent. All songs by Debbie Gibson are copyrighted by Deborah Ann's Music (ASCAP). This forum is a non-profit organization. **************************************************************************** BtL's moderators - * Matthew Jung : mjung@bloom.ucdavis.edu or myjung@ucdavis.bitnet * Sandy Chen : ez003229@pollux.ucdavis.edu =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CHICAGO (Merrillville, Indiana) CONCERT REVIEW John Shew (johns@point.uucp) Fri, 30 Aug 91 0:05:29 CDT Debbie Gibson made her only Chicago area appearance on Sunday, August 18th at the Star Plaza Theatre in Merrillville, Indiana. The show followed the same pattern as Ray Wilmott described for the first Atlantic City concert so I won't repeat the list of songs here, except to say Deb didn't sing "Crocodile Rock." The only new songs were "Heart and Soul" and "On My Own" from Les Mis. There were a lot of songs in Deb's new Motown medley. I'll try my best to list them. The medley seemed unchanged from the performance she gave at Rock-In-Rio II back in January. Motown Medley--One Step Ahead Tour Heat Wave I Hear A Symphony The Same Old Song Baby Love I Can't Help Myself Invisible [? never heard this song before so I'm guessing] Come See About Me How Sweet It Is (To Be Loved By You) Heaven Must Have Sent You Reach Out I'll Be There The sound quality for the Chicago concert was disappointing. The sound system was cranked up to the point of distortion and for the most part Debbie's voice sounded like a high-pitched squeal and one would have been hard pressed to recognize it as her voice at all. I did notice that the sound got better as I moved closer to the stage and away from the main speakers. More about that later. Since the sound wasn't offering me much pleasure, I concentrated on the visual aspects of the show. I thought all of Deb's costumes were great and she looked great in them. The opening number, "One Step Ahead," starts with the dancers standing bunched together in the center of the stage. Then they spread out across the stage and the audience gets to see the star of the show for the first time. And what a first sighting it was! Deb was wearing a short little jacket with only a bikini-type top underneath and skin-tight, brightly colored spandex pants. If she dresses like that for more personal appearances it will do much to erase the old image. Debbie came out for the second part of the show in the red sequined dress that many of you probably saw. It was okay, but I didn't think it fit with Deb's short hair. Her outfit for the last segment was sort of a grab bag. Black hat with rose, velour jacket with sheer sleeves, and olive colored leggings. The outfit did seem apropos when Debbie sat on a stool to sing the song from Les Mis. Thank goodness I didn't see the likeness of Elvis on the back of the jacket during that song. During the encores, I and much of the crowd moved up close to the stage. Finally Debbie sounded like Debbie. Unfortunately you don't often get to be 3 or 4 feet from the stage. I also found that it's not the safest place to be when an apparent understudy to "Morgana, the kissing bandit" rushed down the aisle during "We Could Be Together." She forearmed me out of the way and continued towards the stage where, despite Buddy Casimano's protestations, she climbed aboard and hammed it up. Finally, I can only give the show a grade of B- mainly because of the sound system, but partly because Deb's performance seemed hurried and just workman-like. She did not interact much with her audience. In her defense I should mention that the first 6 rows of seats right in front of the stage were apparently filled with hotel guests. They sat on their hands the entire time and made Deb mad enough to say, "What's wrong with you?" I suppose this is one of the hazards of working a hotel/theatre complex. Let's all hope we see Debbie at more appropriate concert venues the next time around. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= SEATTLE AND SALEM CONCERT REVIEWS Michael Scheele (pershing@ATHENA.MIT.EDU) Fri, 30 Aug 91 07:00:19 EDT =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= Seattle, WA Paramount Theater August 21, 1991 Song List (approximate): ------------------------ "One Step Ahead" "Another Brick Falls" "Shake Your Love" "Out of the Blue" "Only In My Dreams" "One Hand, One Heart" "Sure" "Lead Them Home My Dreams" "Someday" "No More Rhyme" Motown Medley (Holland, Dozier, and Holland) "It Must've Been My Boy" "Stand Your Ground" "Foolish Beat" "Anything Is Possible" Encore: "Electric Youth" "Heart and Soul" "Will You Still Love Me Tomorrow?" "On My Own" "Lost In Your Eyes" "We Could Be Together" General Comments: The smaller theater (approx. 3000 seats) is an excellent venue for Miss Gibson's set; there is adequate space for a full set of instruments and dancers while permitting a greater amount of audience participation than a large stadium. The acoustics were decent; not Symphony Hall in Boston, but sufficient given the sound quality of the PA system. The frequency balance of the PA system was a little treble shy, but the bass was tight and non-boomy. The mixing of the microphones could have been improved by accentuating Gibson's mic. more and diminishing the backup singers and instruments (at times). In the future, it would be highly desirable for Debbie Gibson to obtain a sound system similar to the one used by the New York Philharmonic for outdoor performances. With multiple speakers, digital delay, and precision placement, a more natural and pleasant listening experience would be had by all. The sound would resemble that of a concert hall, sharply reducing the differences in volume and frequency balance between the front and back rows. The monitors on stage would not have to be very loud either, thus reducing the damage to the ears of the performers. It would be worth investigating, though the cost effectiveness and feasibility of this are unknown to this reviewers. The crowd of about 1,000 was an interesting mix of young girls, teenagers, and young adults with a smattering of older people (parents and adult fans). Summary: two hours being entertained by a consummate performer. Chris Cuevas: As an opening act, I have seen worse, but I have seen far better. His singing talent is better than that of most of the New Kids on the Block, but certainly he does not stand out particularly well in this department. His songs are rather mainstream (good and bad). The song, "Hip Hop," written by Gibson and Andrew Zulla, is not one I foresee sweeping the dance charts against established and newer dance artists. [Editor's Note: "Hip Hop" did chart on the Billboard Club Play chart. It was mentioned in an article in BtL 3.8 (July 1, 1991)] More complex (and better) songs were written for Ana by Gibson, so one wonders if the limiting factor was Mr. Cuevas himself. He ripped off chords from Gibson's "Lost In Your Eyes" in one of his slower songs; it was so blatant, I was astounded he had the audacity to claim he wrote it - does he know Senator Biden by any chance? The duet with Miss Gibson, "Someday" was tolerable due mainly to Gibson's superior singing (Cuevas was unnecessary to this song). It was however a step down from previous efforts, "Love Under My Pillow" (with Keeth Stewart) was a far better song and actually needed to be sung as a duet. This lends further evidence that Cuevas required accommodation from the song writers. Times Two (Out of the Blue Tour) was more catchy, Judson Spence (Electric Youth Tour) was more talented (and played real instruments), Bros (Electric Youth Tour) were more annoying and obnoxious (though Matthew Goss is a better singer), and Kevin Paige (Electric Youth Tour) was more interesting. It is hoped that Cuevas not reappear in future tours; a waste of 30-45 minutes indeed. What is it with Atlantic acts from Mississippi (Judson Spence and Chris Cuevas), are they charity cases? "One Step Ahead" For the _One Step Ahead_ Tour, Miss Gibson starts off with a logical selection. The song is energized by Gibson's enthusiasm. This reviewer maintains that it is NEVER "time to rap," but this is the only real fault of the song - it does give the backup singers something to do however. I like the Nietzsche-like theme of the song. Incidentally, does the phrase "grab the brass ring" refer to the [gold] Ring of the Nibelungs (Wagner)? And does this tie in with the song, "Fallen Angel"? "Another Brick Falls" The piano solo live is excellent; Miss Gibson's classical training is evident in the smoothness and the confidence of her playing. "Shake Your Love"/"Out of the Blue"/"Only In My Dreams" The medley of the three songs was nice enough. The do-wop arrangement of "Only In My Dreams" was quite entertaining, though this reviewer misses the vocal highlight of "it was only in myyyyyy... dreammmmsss..." The de-emphasis of songs from this early stage hints at their removal from the set in future tours. The long "Shake Break" is gone, but the loss is minimal as Gibson figures out new transition/outfit change songs to use. "One Hand, One Heart" Wonderful in a minimalist arrangement; bravo! The combination of Gibson's voice and the piano is something not to be missed. The tuning of the Baldwin baby grand seemed different for this tour, almost harpsichord-like (Baroque style tuning perhaps?). Her voice continues to gain richness and strength, much to the delight of her fans. Also, the lack of echoic sound was an improvement over the studio version; someone please take note! "Lead Them Home My Dreams" Thanks to the well adjusted bass, the opening of this song was superb. The explanation of the meaning of the song (somewhat) should help those still puzzled by the song's theme. "It Must've Been My Boy" The song is catchy, but the stage act was rather racy by the standards of this somewhat prudish reviewer. I did find the shirtless dancers a bit tasteless though it is a common accommodation of the teenage girls in the audience. I did find the actions of Mr. Sanchez deserving of a slap from any decent, virtuous girl, but it did fit the song. The running off stage at the end of the song was a bit suggestive (though thankfully the line "He's a class A lover" was accompanied by her male dancers only), but it was a convenient point for an outfit change. Motown Medley (Holland, Dozier, and Holland) This is certainly the longest medley of songs used in her sets; it must be extremely expensive to pay for the rights to perform the segments from almost a dozen songs. Gibson reaffirms her commitment to showing her fans that she likes songs from this era. "Sure" This song benefits from the live performance immensely. Gibson was able to put more emotion into to the song's words and the piano was more effective. "No More Rhyme" This song is highly under-rated compared to "Foolish Beat" and "Lost In Your Eyes," but its inclusion in this set is very welcome. "Stand Your Ground" It was less refined in the _Electric Youth_ Tour, but it still is not Gibson's best. Is this a concession to Fred Zarr? The song is still too choppy for Miss Gibson's smooth voice and the message of this song is covered in other songs more effectively ("We Could Be Together" for one). "Foolish Beat" An old standby and a sentimental favorite of many of her fans. This is the last song from _Out of the Blue_ that will be dropped from the set (if ever). The arrangement from the _Out of the Blue_ Tour was the best - piano and verse leading into a sax intro. with minimal accompaniment is the most powerful presentation of this song. This song evokes many pleasant memories; I would find it difficult to hear this song live too many times. "Anything Is Possible" The song benefits from the energy of Gibson's live performance. The song loses the sound effects of the studio version, but that is of little consequence. The intro was a bit melodramatic, but tolerable. Encore: This was the longest encore of any of the tours. "Electric Youth" The song is less hi-tech without the lasers and elaborate set, but the song gets its message across better with fewer distractions. It would have been appropriate to mention the young people of Russia (and the other republics) as exemplifying the concept of "electric youth." The same could have been said of the young people in Tiannimin (sic) Square during the _Electric Youth_ Tour. Gibson's refusal to get political with this song is puzzling in light of the video for "Anything Is Possible." Conservatives and liberals agree that striving for democracy in those countries should be supported, so where's the risk? Young people speaking their mind in America is a far cry from the difficulties of trying to fight for freedom in a totalitarian state. Regardless of the political dimensions, the song is still hi-NRG and fun to listen to. "Heart and Soul" Miss Gibson, please write more verses and a bridge for this song and it will be spectacular! Ballads are definitely the forte of this performer and this reviewer can't wait for the fourth album to hear the finished version. "Will You Still Love Me Tomorrow?" Carole King? The 1970's? Well, it is fortunate that Gibson sings much better than Carole King. Is this a veiled question to her fans? There is one small hitch in this; the fans that left when her popularity faded aren't around now to ask this question to. Her loyal fans would certainly answer: "Yes!" The use of a random male audience member was a nice touch, though this reviewer is disappointed he was not chosen (needed closer seats). "On My Own" Auditioning for the movie version of Les Miserables, Debbie? By the time the Hollywood bureaucracy gets moving and is convinced that Gibson would be a good (read profitable) choice for Eponine, she would be too old for the part. I doubt the song is likely to be sung more beautifully in the future, but image matters in the movies as well as talent. "Lost In Your Eyes" To hear this song is to fall in love again (or remember love). The piano portion is far clearer here than in the studio version. Gibson's vocal strength is improving as even after almost two hours of singing, there was only a small shift to an upper register for this song. As a fan (and popular) favorite, this song is likely to be retained in future sets. "We Could Be Together" A standard song to close the set it appears. This energetic song gets people in the right mood to leave the show - psyched. Wish list of songs to be performed: "Between the Lines" - an excellent song from the first tour and left off of the concert video; a shame since it is a nice vocal song "Silence Speaks (A Thousand Words)" with strings and Debbie playing flute. This would be a show stopper. "Love In Disguise" or "Should've Been The One" for a higher tempo song for the band to jam on "Shades of the Past" - dark, but her improved vocals could pull it off to good effect "Negative Energy" - yes, "Negative Energy," it is a jazzy sounding song that would have afforded an opportunity for a different style of piano playing "In His Mind" for similar reasons as "Shades of the Past" "Where Have You Been?" - this is a very dark song, but with strings it would be the most dramatic song done on a concert tour in a long time and it would have been even more stinging to disloyal fans than "Will You Still Love Me Tomorrow?" "Taken By You" - not heard by this reviewer (much to his chagrin), but perhaps it will appear in future recordings "Without You" - was this done for the Japanese segment of the tour? One would think it would be, but nothing is obvious. An excellent song unless you immensely dislike Japanese pop song conventions (pretty innocuous really). "So Close To Forever" and "The Most Beautiful Love Song" - Exquisite B-sides!! Minimalist arrangements with only vocals and piano (or a cappella for the latter) would be superb additions to the set (though it might result in too much ballad content in the set). =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= Salem, OR L.B. Day Amphitheater August 22, 1991 General comments: It is sad that Miss Gibson had to perform at a state fair, but the L.B. Day Amphitheater was a nice change of pace from indoor venues. The amphitheater was filled to capacity at around 3,000. The audience was more biased toward younger kids, but there were a healthy number of adult (excluding parents) fans in attendance. The sound system was pretty standard for concerts, but tolerable. Chris Cuevas: 25 minutes this time and still something to miss. He was a bit toned down from Seattle, but he still seemed at the mercy of someone programming his musical accompaniment. He once again proved that he is no great guitarist - strumming three chords repeatedly is not impressive, even someone who has never learned to play the guitar can manage that small feat. Given the nature of the audience, "It Must've Been My Boy" was toned down, but Mr. Sanchez still deserved to be slapped for his behavior. The Motown Medley was reduced, but it still must have cost a great deal. The audience didn't seem to recognize the songs for the most part (except for some of the older audience members). The encore was shorter than the standard set, but it was still excellent. Despite being free with admission, Gibson's performance was top notch (a 90 minute set is certainly adequate). Considering that she didn't have much of a rest from the full set performed in Seattle the previous night, Miss Gibson showed that her professionalism and stamina were very high. Gibson signed autographs and talked with fans for an astounding 30+ minutes after the concert; she definitely continues to care about her fans. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= LA TIMES ANAHEIM CONCERT REVIEW Edwin Nomura (IZZYFN1@MVS.OAC.UCLA.EDU) Wed, 28 Aug 91 15:33 PDT Pop Music Review - Los Angeles Times (8/27/91) [Copied verbatim without permission] "Debbie Gibson at Her Best at Celebrity Theatre" - Janice Page ------------------------------------------------ True, they did do the wave to fill time during a pre-concert delay, but if you were to chalk up the outpouring of affection that greeted Debbie Gibson at Anaheim's Celebrity Theatre on Sunday night to fans that are easily amused, you'd be selling this performer short. In a show that ran a full two hours of singing, dancing and jamming through 21 musical numbers, the former teen-pop queen (she's now nearly 21) gave back at least as much as she got. Gibson, joined off and on throughout the evening by four acrobatic male dancers and two backup singers in addition to a full touring band, kicked things off in high gear with the dance oriented "One Step Ahead" and "Another Brick Falls" off her latest "Anything is Possible" album. Bubblegum hits "Shake Your Love" and "Out of the Blue" followed, main- taining a frenetic pace that seemed suited for an aerobics class. But just when Gibson was in danger of becoming spun sugar, she elected wisely to slow the pace with a doo-wop version of "Only in My Dreams." A well-balanced alternating of her trademark tinkling- keyboard ballads and up-tempo pop tunes filled out the evening. Aside from a new haircut, Gibson showed few signs of real change (or maturation) since her "Out of the Blue" and "Electric Youth" tours. The latest evidence of her readiness to settle for repetitive and derivative melodies came in the debut of two throwaway ballads, "Heart and Soul" and "Till You Come Back Again." Still, this is one talented and as yet forgivably young artist, ambitious enough to write, produce and belt out her own material. And Gibson in concert is Gibson at her best - a performer who seems born to the stage and who clearly loves every minute of the time she gets to spend there. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A FEW WORDS ABOUT THE CA SHOWS Edwin Nomura (IZZYFN1@MVS.OAC.UCLA.EDU) Thu, 29 Aug 91 02:54 PDT My Debbie Gibson weekend began a day late since the Phoenix show was cancelled - I had 5th row center seats - which was probably a good thing since I had caught a cold (fine time to get sick!). But I did get to catch the California shows and both were awesome! All of her own songs blew away the studio versions (most which I always thought were lacking just a little bit in production), though I did prefer previous live versions of Electric Youth, One Hand One Heart and Only in My Dreams. At Rock in Rio II, OHOH featured an extended outro with a little bit of drums which I really liked. As for the doo-wop OiMD, I liked it a lot, though I expected it to be the set-closing rocker like before. Instead, she closed with Anything is Possible which I thought was a little dark for a closer but still ended the set well. I also still preferred the old Motown medley which I thought was more rockin' closing with Dance to the Music, but I did like this one, especially I Hear a Symphony, Baby Love, How Sweet it is, and I'll Be There. Foolish Beat, No More Rhyme, Another Brick Falls, and Sure sounded absolutely fantastic! The duet with opener Chris Cuevas (who, with respect to some readers, I won't say much about except that at Anaheim while I was waiting out his act in the lobby, there were a number who walked out and did the same), Someday, sounded pretty good, considering that I dislike the studio version. Shake Your Love segued to Out of the Blue and it sounded like these songs are gonna be fazed out of the lineup in a tour or two. The Celebrity show was in-the-round and I was afraid that half the time I would be staring at the drummer's butt, but with the stage so small, the band was stuck in the orchestra pit across from me, so from my 2nd row seat, I never saw more than the tops of their heads. This was good in that I always had a clear view of Deb (watching her play One Hand One Heart and Sure at the piano while it rotated was fantastic!) but it might have given the show a canned-music feeling which I ignored. The band jam was almost useless, with no one on the stage, it was like listening to a recording. Finally, there was a familiar guest: Casey, the Special Olympian who was featured with Deb last week on TV. She was pulled onstage right next to me after Deb requested, "Bring up Casey." After the show, I managed to get one of the clear plastic glasses that Deb drank out of during the show... Concord was a show for fans. After the planned show at Anaheim, the screwing around here was funny and hella enjoyable to watch - the silly string sprayed on Deb, the pie thrown at Cuevas near the end of Someday, the band members doing the Van Halen swagger across the stage during the dance break, one of the dancers dressed up as Deb walking onstage from the opposite side, and the best: Diane with the broom chasing the dancer around the stage during It Must've Been My Boy. She also gave us an awesome 6 song encore. My gripes are minor. The sound was adequate, though these were by far the two quietest concerts I've ever attended. The Anaheim Celebrity speakers were nothing special and the one near me kept popping every once in awhile which got to be annoying. Also, even at this unimpressive volume level, I found the sound to be on the verge of becoming distorted. The Concord Pavilion's speakers were much clearer and louder, but for me woefully not loud enough! The only other real problem I had was with the security at Concord. During the encore-closer We Could Be Together, I worked my way up from my 6th row seat to the front row, as did a woman who had sat next to me, with her young kid. She prodded her kid to go on stage, and she did - being one of the first to get on. A minute later, she herself jumped onstage and was quickly followed by another guy who was just as quickly wrestled offstage, while she stayed on, joined by some other girls Buddy pulled out of the audience. Anyone else who tried was stopped. At Anaheim however, anyone who reasonably hard got on stage. I almost followed that guy at Concord but didn't when he was whisked away, but didn't try at Anaheim, which I now regret. Also, I was impressed with the changes she made in some older songs (no more sax solo intro for Foolish Beat or Shake Break) but she's still doing that body wave at the beginning of Out of the Blue and getting on that piano for Lost in Your Eyes. It's like watching recycled footage. Anyways, the shows were just great. Deb debuted Till You Come Back Again at Anaheim and also played for us Heart and Soul, both which show her continuing angle towards Mood Swings stuff. They sounded fabulous, as did her rendition of On My Own from Les Miz. At Concord, she gave us these three and also another great ballad, Taken By You, which I think should be on her next album. I liked this band better than previous members. The drummer seemed more on it and capable (hitting two measures of fast bass drumming that sounded like Metallica's One when introduced to us by Deb). The guitarist and bassist were also good, though their instruments were turned too low in some parts, especially the guitar solo in OotB and the bass in Anything is Possible which I expected to bring the house down, but ended up sounding about as loud as my home stereo. The male backup singer was excellent, hitting the high notes (the "possibilities" fill-in during WCBT). I believe he was in Juan Gabriel's touring entourage at some point previously. The dancers were able, though I could probably have done without them, especially that Chippendales bit during IMBMB. I like the way Deb changes the playlist just a little every night. I think that bands that play the same thing night after night tire of it, and it shows. This can be good (missed Stand Your Ground and got Till You Come Back Again and Taken By You) and bad (missed Crocodile Rock and got Reverse Psychology). I hope she continues to end her tours on the west coast so I can catch that last show! These shows also gave me an opportunity to finally meet some of the BtL members that helped me become a big fan of Deb's (and for that I don't know whether to thank you or curse you!) Without this, I would never have known of most TV appearances, tour dates, and all that. At Anaheim, there were girls behind us in the 3rd row who spent $97.50 each on tickets from an agency since they just didn't know Deb was in town. So for all you who've ever helped me out, a big Thanks! And to those I met at the 2 shows, it was a pleasure and we must do this again, so see you in '94! (Or '93?) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= SPECIAL OLYMPICS GALA Sandy Chen (ez003229@pollux.ucdavis.edu) August 20, 1991 On August 15, ABC aired the "International Special Olympics Gala". This 2-hour special featured highlights, entertainment, and background on the people who participated in this event, which took place a month ago in Minneapolis-St. Paul. Debbie first appeared about 30 minutes into the show. She was dressed in an elegant, sparkling green evening gown and sat next to a black piano. "Lost in Your Eyes" was the only song that she sang, and she did it well. The only bad thing about the performance was that she sang to taped music. I guess it couldn't be helped since she didn't have her band with her, but it was weird how she and the orchestra pretended to do the music. Immediately after her performance, they showed a segment on Casey Mangan, a 18 year old gymnast with Downs Syndrome that Debbie befriended. Debbie visited Casey at her home in Colorado, and clips were shown of them talking, singing, and shopping. Deb is proud of Casey because she has been able to accomplish many things and has lead a pretty normal life despite her handicap. About an hour later, they showed another segment on Casey and Debbie. Deb was with Casey at the event's workouts and rehearsals. Debbie's mom, Diane, was there as well. Many celebrities were present, and the camera followed them around as they introduced themselves. They also showed Debbie rehearsing her song. Amusing parts of this segment include: - Debbie working out with Casey on the floor exercises (you should stick to singing, Deb) - Debbie trying to do a handstand (with the help of Bart Conner and Nadia Comaneci). This isn't the first time that Deb has devoted her time to help the less fortunate. It shows that she really cares about OTHERS, something that can't be said of a lot of singers these days. Notes: Casey Mangan ended up with 4 medals (3 Silver, 1 Bronze). Way to go Casey! The events began on July 20th. This was probably one of the last things that Debbie did before her tour started. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= WITHOUT YOU REVISITED Sandy Chen (ez003229@pollux.ucdavis.edu) August 20, 1991 The Japanese TV show, "Otoko Ni Tsuite", is now being shown in some parts of the U.S. "Otoko Ni Tsuite" translates to "About Men" in English, and this is the show that has "Without You" as its theme song. Debbie sings the vocals to this song, which was reviewed in BtL 3.2. Those of you who haven't been able to find the CD should check your local TV listings for any Japanese stations that might carry the show. It truly is a wonderful song and it's a shame that it's only available in Japan. Based on my limited viewing experience, I would say that the show is some kind of soap opera or serious drama. Fortunately, there are subtitles for us non-Japanese speaking people. The opening theme is a shortened version of the CD-track, without the second verse. More of the song is sometimes heard later in the show (which lasts about 50-60 minutes), usually toward the end. In the San Bernadino/Los Angeles/San Diego area, the show is carried by KSCI (Channel 18) and is shown on Saturdays at 8:40 PM (this is not listed in the TV Guide, however). Let us know if you find it anywhere else! [Editor's Note: Thanks to Ed Nomura for giving us the lead on this] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CABOODLES TV COMMERCIAL Sandy Chen (ez003229@pollux.ucdavis.edu) August 30, 1991 A Caboodles TV commercial is circulating on FOX stations and MTV. It features Debbie describing the concert contest. I was able to obtain a transcription: [Start of commercial] (Voice of Debbie singing): "Girl, You've got it together...!" Images of a photographer shooting a model flash by. Then they show a girl looking over and using various Caboodle boxes. (Voice of announcer): "Caboodles Beauty Organizers have spaces and places for all your makeup and accessories. And they come in fantastic fashion colors. With Caboodles girl, you've got it together." (Voice of Debbie singing): "You've got it! Together! Caboodles!" Debbie appears, followed shortly by quick images of her in concert. (Debbie): "Hi, I'm Debbie Gibson. You can win your very own private concert with me in Hollywood. Just look for these specially marked Caboodles in a store near you. With Caboodles, you've got it together!" [End of commercial] The commercial is 30 seconds long. Background music was pulled directly from the _One Step Ahead_ track. The contest ends on September 15, 1991. For more information about the contest, please see Shaun Stuart's article in BtL 3.9 (July 27, 1991). =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A BRIEF CHAT WITH DEBORAH Matthew Jung (mjung@bloom.ucdavis.edu) August 23, 1991 After the August 22 concert in Salem, Deborah spent almost a half and hour signing autographs for fans on the side of the LB Day Amphitheater. Deborah was wearing no makeup and looked fabulous. I approached her and went to touch her hand; she took my hand, looked up to me, and said hello. I then backed out so she could sign some more autographs for people. A little later, as I was following the crowd which was moving right, I called out "Deborah" and asked if the Concord show was the last concert of the tour and she said yes. This confirmed what Michelle Cobbs (her sole female backup vocalist) said earlier that day when I asked her that question. Deb then went on to talk briefly about the Caboodles contest and I said that I was going to win that thing and that I would see her there (now I really have to win this thing). As she continued to move to the right, I went on to ask if she was going to sing "Taken By You" at the next concert (Anaheim) since she did not sing it at the Seattle or Salem shows. She said maybe and asked me how I knew about it. As she moved further to the right a minute or so later, I asked her what she wanted for her birthday. She couldn't really think of an answer for the question and said that hats are always good. The last time I talked to her was several minutes after that towards the end of the autograph session and I asked her to sign my DGIF member shirt. She asked me for my name so she could personalize it. I then gave her the latest issue of BtL and judging by her reaction, she knew what it was and told the guy standing next to her to hold on to it for her so she could read it later. After that she signed autographs for a few more minutes and then left on her flight to Anaheim. Isn't it good to know that Deb knows about us? =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= IN THE STILL OF THE NIGHT Shaun Stuart (SHAUN@CALSTATE.BITNET) Wed, 28 Aug 91 22:44:28 PDT This is not a concert review. I want to get that straight right up front. Yes, I saw Deb put on two great shows, but so did several other BtL members and I'll leave the reviews in their (more capable) hands. I want to talk about something that happened because of the concerts. Something that happened sometime between first seeing Debbie get out of her van backstage in Anaheim and seeing 12 people standing in a circle outside a Denny's restaurant in Concord at one in the morning the following day. That's about a 30 hour span. Pretty vague. A lot can happen in 30 hours - just look at the Soviet Union. But, try as I might, I really can't define it any better than that. What happened? I made some new friends. Those five words don't seem like so much when I see them floating on my screen (or even when I first wrote them down on the back of a take- out menu from Pete Bruno's Italian Restaurant). But when I stop to think of those people, I can't help but feel a little... awed. People from San Diego, Berkeley, Connecticut, Sweden. (Sweden - the other side of the planet!) People whom I never would have met, probably never would have noticed had I seen them walking down the street, if it weren't for the music of Debbie Gibson. I only had met two of them before the day of the Anaheim show, and never in person. By the end of Debbie's last show, I was with a dozen people, none of whom I had seen before. But the thing was, it didn't seem like that. It seemed like we had been together for a long time. After the show, we went to see if we could find Debbie at her hotel (we didn't) and then we all went to Denny's. It was after dinner (or breakfast, or whatever a meal is called at that hour in the morning), when we all ended up standing around in the parking lot, that I first realized that I would most likely not see all of these people together until at least the next tour. And I felt a little bit sad. But we stood and talked and moved around until we somehow ended up in a circle - a curious shape that has no beginning or end, no one point of prominence. Maybe it was the emptiness of the parking lot, or the way the one streetlight was shining down on us. Maybe it was some leftover emotions from the concert. Maybe it was even that imfamous Denny's food. Whatever it was, I got a sense of something moving around that circle. Something being communicated between us, mostly when we weren't even talking. The tour was over. There were no more shows to see. And we were left with just ourselves. Perhaps, for the first time, we saw each other, not as Debbie Gibson fans, but as individuals. And maybe we each asked ourselves if we wanted to keep in touch with each other, if there was anything holding us together now that the music had ended. I can't speak for everyone else, but something inside me said "yes." There's one song I wish Deb would have performed at that last show. One song that would have summed up how I feel about her and her music. And about my friends. That song is "Do You Believe In Magic" by The Lovin' Spoonful. Do you believe in the magic of a young girl's soul Do you believe in the magic of rock and roll Do you believe in the magic that will set you free Well the magic's in the music and the music's in me Thinking back to the twelve of us standing in a circle in a Denny's parking lot at one in the morning, I can't help but think that during that show, Debbie somehow placed a little piece of her music deep inside each of us. And that piece somehow grew and joined us together in some basic way, some way that grew out of, then eclipsed, her music. I don't know how she did it, but the results were pretty impressive. But then, isn't that the definition of magic? Shaun =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= QUESTIONS AND ANSWERS Q. John Shew (johns@point.uucp) Did anyone see any film crews at the concerts? Q. Edwin Nomura (IZZYFN1@MVS.OAC.UCLA.EDU) Did anyone catch the Tour Radio Special? It was not aired here in Southern California. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CLOSING REMARKS When Michael Scheele talked to Deb during the autograph session on Aug. 22 in Salem, she mentioned that her home in Long Island had two inches of water in the basement from hurricane Bob. According to the TV Guide, Debbie will be appearing in the Jerry Lewis Telethon which starts on September 1 (Sunday) at 6:00 PM Pacific time (check local listings for channels). The telethon will be 23 hours long and it is not known when or how many times Debbie will appear. Deborah Ann Gibson turns 21 today and we at BtL would like to take this opportunity to thank her for giving us more than four years of devoted entertainment. Thank you for being who you are and doing what you want to do. You have inspired us all and we hope to see more of you in the years to come. Good luck, and may your future be filled with success. ^^^^^^^^^^^^^^^^^^^^^ ||||||||||||||||||||| ---------------------------- |\/\/\/\/\/\/\/\/\/\/\/\/\/\/| | HAPPY BIRTHDAY DEBBIE! | |\/\/\/\/\/\/\/\/\/\/\/\/\/\/| ------------------------------