=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 4, Issue 5 - April 26, 1992 DDDDD D D D D GGGG D D G DDDDD G GGG G G GGG A Debbie Gibson Discussion Forum =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CONTENTS =- ADMINISTRATIVE NOTES COMMENTS ON STREET JUSTICE - Gary La Torre, Jr. COMMENTS ON SALLY JESSE RAPHAEL - Matthew Jung DG ON UK CHANNEL 4 TV - Graeme Lyall DG APPOINTED TO BOARD OF TRUSTEES - Dina Shimoyama DG TO ATTEND DEMOCRACY AWARDS IN NYC - Andre LeBlanc D.G.I.F. PETITION - Shaun Stuart D.G.I.F. SURVEY - Bill Jackson DG TESTIMONY ON THE AUDIO RECORDING ACT - Patrick Colcord DG FINAL APPEARANCE IN LES MIZ ON 3/29 - Michael Scheele DEBWATCH QUESTIONS AND ANSWERS CLOSING REMARKS =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= 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) or Possibilities Publishing (ASCAP). Between the Lines operates on a non-profit basis. Distribution is permissible only under the condition that no part of it will be used for profit. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= ADMINISTRATIVE NOTES =- Before you submit your articles, please PROOFREAD them. Remember that more than 170 people receive BtL via electronic mail. Also, keep your articles original. If you intend to transcribe an existing article, please notify Matthew Jung first before proceeding. He and the rest of the moderators will decide whether it is appropriate for BtL. Copies of submissions should be sent to all moderators. We reserve the right to edit submissions. To submit articles by postal mail, please send them to: BETWEEN THE LINES c/o Felix Ng 2137 Qualicum Drive Vancouver, B.C. V5P 2M3 CANADA You may submit articles on floppy disks (3.5" or 5.25" double or high density) by mailing them to the above address. Disks must be in MS-DOS format and the files must be in ASCII form. Please note that floppy disks will not be returned. All other postal submissions must be typewritten so that Felix can scan them. To submit articles by FAX, please call (604) 322-5936. BtL is now available through postal mail for people who do not have access to electronic mail. Prices are at cost and are subject to change: Canada $1.25 Cdn. United States $1.30 U.S. International $2.50 Cdn. Please make a cheque or money order payable to Felix Ng and mail it to the postal address mentioned above. We are not responsible for cash lost or stolen in the mail. BtL issues are always sent via first class mail. For those of you interested in joining the "bouncing" version of the BtL mailing list, please send email to Matthew Jung. The supplemental list is for the fans who like to discuss Debbie Gibson and her music on a frequent basis. For those of you interested in joining the BtL lounge on Time Traveller, please send email to Jonathan Bradshaw (jbradsha@mentor.cc.purdue.edu). This is where fans can discuss Debbie Gibson and her music in real time with other participating fans. Debbie Gibson GIFs (these are computer graphics files) and BtL back issues are available via anonymous FTP at cs.uwp.edu. For instructions on how to use FTP, please ask either Matthew Jung or Myra Wong. -= BtL moderators =- Matthew Jung : ez000018@hamlet.ucdavis.edu mjung@bloom.ucdavis.edu myjung@ucdavis.bitnet Sandy Chen : ez003229@othello.ucdavis.edu Myra Wong : mkwong@sdcc13.ucsd.edu Felix Ng : a1430001@bcit.bitnet =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= COMMENTS ON STREET JUSTICE =- Gary La Torre, Jr. (Lindenhurst, New York) April 14, 1992 Like most Debbie Gibson fans, I couldn't wait to see Deborah's appearance on "Street Justice." I think Deb looked and sounded *great*. Honestly though, how many of you were shocked to see some of the kissing scenes, and of course the bedroom scene? I was surprised, but hey, Deb's not a little girl anymore! This appearance on "Street Justice" was just more proof of Deborah's enormous, versatile talent from pop star, to Broadway, and onto broadcast television. Congratulations to Deb, and hopefully we'll be seeing more of her on T.V. in the not so distant future!? =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= COMMENTS ON SALLY JESSE RAPHAEL =- Matthew Jung (mjung@bloom.ucdavis.edu) April 20, 1992 Deborah's recent appearance on Sally Jesse Raphael was unprecedented. She had just finished her successful run on Broadway and her next focus likely was her fourth album (tentatively planned to be released this fall). So, why did Deb appear on this particular talk show? Deborah and her mother Diane were guests on the show to give advice to mothers who have conceited teenage daughters. Ms. Raphael had met Deborah and Diane just two years earlier on an airplane. She couldn't help but notice the interaction between mother and daughter and asked them to appear on her show someday. That day happened on April 14th, 1992. Deborah was wearing a pretty normal outfit and had minimal makeup. Perhaps she was trying to prove a point to the conceited teenage daughters because Deb usually wears some really strange outfits and pours on the makeup for television appearances (post-Electric Youth era). The other guests were a bunch of pathetic dysfunctional mother and daughter families. The first troubled daughter was a girl who would not go to school because she didn't like the way her hair looked. I found this to be amusing since her hairstyle on the show looked worse than any hairstyle that I've seen on Deb (including the perm). The next daughter was an attractive, but very stuck-up girl who was clearly very conceited. The last daughter was a wanna-be singer who seemed to be the least troubled girl among the ones presented. It was rather unfortunate that Deb and Diane spent the least time with this girl since she could've benefited the most (her mother was the opposite of Diane and was not as enthusiastic about nurturing her daughter's talent). Even though this TV appearance was not about Deborah, we did get to learn a few things about her. In one of Deborah's rare opportunities to speak, she admitted that she got rejected from Star Search five times. This was the only national television appearance that I know of where she had mentioned this. During one of Diane's lectures to the girl with the ugly hair, she mentioned how Deborah sometimes would get up in the morning and not wash her hair because she was behind schedule. Later on, Deb mentioned she would use the shampoo that's available in the hotel rather than spend her hard earned money on such items. This was good to keep in mind because soon after, Diane mentioned how Deb called her about a year ago to ask if she should buy an outfit that cost $200. This says a lot about Deborah's character because, as her mother pointed out, she could easily afford such items. While Diane lectured the attractive, but way-too conceited girl, we find out something interesting about her oldest daughter's wedding on September 14th, 1991. When Karen first got married on October 2, 1988 to Bill Behre, Deb was the maid of honor (Regis and Kathie Lee, September 1988). This time, they made a conscious effort not to make Deb the maid of honor. We also hear from Deb how she would never refuse an autograph when asked. Nevertheless, Deb and Diane implied that they had security look out for potential fans who might ask for autographs; Deb didn't want to attract unwanted attention on the day when her sister should be the one to shine. It was hard to anticipate Deb's appearance on Sally Jesse Raphael, but it wasn't entirely unthinkable. She mentioned the show once in a Much Music spotlight (Canadian TV) with VJ Steve Anthony. The show was mentioned in jest, but it was significant because Deb could've easily named off any other talk show such as Geraldo, Donahue, etc. Interestingly enough, Deborah also thanked Sally in the "Anything is Possible" album for her show on racism. It was also interesting to note that the People magazine issue, which contained the article about Deb's appearance in Les Miserables, had Raphael's photo on the cover. Ms. Raphael commented at the end of the show that it was the first time that Deb and Diane had been together. This was not true because Deb and Diane appeared on the Mother's Day special with Joan Lunden back in 1988. Even Deb's mannerisms were the same now as they were four years ago when Diane was talking about Deb. One obvious difference between shows was that the eight minute spot with Joan Lunden was entirely focused on Diane and Deb, whereas the eighteen minute appearance with Sally Jesse Raphael was focused more on the troubled mother-daughter families. Thus, we hardly get to see and hear from Deb in this appearance and her mom ended up getting more camera time. For those of you who missed the show, you can order a videocassette by calling 1-800-FOR-SALLY. It costs $19.95 postpaid and they accept Visa or Mastercard. If you would rather have a transcript, you may write to: Journal Graphics 1535 Grant St. Denver, CO 80203 (303) 831-9000 The cost for the transcript was not mentioned so you should call the number given for more information. At any rate, the three conceited daughters presented on the show have a lot to learn from Deb. To juxtapose Deb with any one of these girls is to show us just how wonderful Deb really is. If Deb wasn't able to help any of these girls with her advice, hopefully she was able to get some great song ideas for the next album. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DG ON UK CHANNEL 4 TV =- Graeme Lyall (uad1123@dircon.co.uk) April 20, 1992 Deb made a short appearance in Julian Cleary's show, "Desperately Seeking Roger," filmed in New York for the UK's Channel 4 TV. The show featured extracts from Cleary's stage show and several other celebrity interviews. Deb was interviewed in a clothes shop seemingly patronized by people like Madonna, and said she was currently working on her new album. She was asked if she would be coming to the UK and said there were no immediate plans. Cleary also said he'd heard that Deb had perfect pitch and asked if she would please sing a C flat. Deb pointed out (to his embarrassment) that C flat was also known as B, and proceeded to sing it spot on. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DG APPOINTED TO BOARD OF TRUSTEES =- Dina Shimoyama (dina@ISI.EDU) April 17, 1992 Debbie was recently named to the Starlight Foundation's International Board of Trustees. She joins celebrities such as Magic Johnson, James Worthy, John Candy, Janet Jackson, and many more who have agreed to act as ambassadors for Starlight. By this, I mean that they appear at benefits on Starlight's behalf, and are resources that Starlight can come to when necessary (like to accept checks on Starlight's behalf at check-presenting ceremonies, or to give quotes when articles are being done on Starlight). All Board members are volunteers who do not receive any pay for their services. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DG TO ATTEND DEMOCRACY AWARDS IN NYC =- Andre LeBlanc (Fargo, North Dakota) April 25, 1992 [Copied verbatim without permission from USA Today 4/23] Debbie Gibson and New York governor Mario Cuomo will be among those attending the May 13th Democracy Awards at New York's Pierre Hotel. Mikhail Gorbachev and Charles Koppelman (EMI Records) will be honored at the event. Gorbachev will also talk, for the first time, about anti-Semitism in the former Soviet Union. Debbie will be one of the many music industry representatives on hand. Included was the 1989 promo photo of Debbie sitting in her Ford Fairlane convertible. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= D.G.I.F. PETITION =- Shaun Stuart (xsstuart@fullerton.edu) April 20, 1992 Since the publication of my letter writing campaign article in the last BtL, I have heard from a few people who felt the same way about D.G.I.F. as I do. I have decided to try something else. While the letter writing campaign may have some impact on D.G.I.F., I think a more impressive statement can be made if all of the letters are sent in one bunch. To this end, I have created the following petition. The petition basically lists the same issues I brought up in the letter in a condensed format. I would like to ask each of you to print out this petition, sign it, and send it to me. I will forward all the petitions at one time to D.G.I.F. I am hoping the impact of dozens of petitions at once will make them realize we are serious in our requests. Of course, the biggest problem any project like this faces is apathy. Many people are tired of letter writing campaigns, especially when we don't see any results right away. But this is a chance for you to make your views known to D.G.I.F. in a manner that has not been tried before. Please take the time to print out this portion of BtL, complete the blanks at the end, and mail it to me. It will just take a few minutes, an envelope, and a stamp. The possible results are more than worth the effort. Just think how it would be to have D.G.I.F. back in full color again, and delivered in a few days via first or second class (magazine rate) mail instead of weeks with bulk rate! Perhaps some of you have already sent D.G.I.F. a letter as I suggested last issue. Don't let that stop you from completing this! You have already demonstrated that you are concerned enough to take action. Continue that trend! There are about 160 people receiving BtL via e-mail and many more who get it through regular mail. If all of you complete this petition, D.G.I.F. will find itself faced with an un-ignorable percentage of its membership. Please, take the time to fill this out and send it to me at: Shaun Stuart 413 Pebble Beach Pl. Fullerton, CA 92635 U.S.A. You are not obligated to agree with every single suggestion. Just place check marks next to the suggestions that you agree with. ------------------------------------- Whereas D.G.I.F. has raised its rates by 30 percent and, whereas I have seen no comparable increase in service or quality, I hereby petition D.G.I.F. to incorporate the following suggestions: ___ Resume printing at least some photos in the D.G.I.F. magazine in full color. ___ Mail D.G.I.F. magazines to U.S. members via first or second class (magazine rate) mail. ___ Refrain from including long stories solely about other artists who have no connection to Debbie Gibson. ___ Whenever possible, notify members in advance of Deborah's local appearances via a postcard sent first class mail. For example, if Deborah is appearing on a show like Hanging With Hollywood in Los Angeles, send postcards to members in the Southern California area in advance of the performance. ___ When Deborah is on tour, send out tour schedules via first class mail sufficiently in advance of the concert dates (whenever possible) to be useful. ___ Improve the response time of letters and questions sent to D.G.I.F. concerning administrative problems. While I sincerely appreciate the occasional special offers, such as the calendar and the Easter basket, I think more time should be spent towards developing the magazine, the main vehicle for D.G.I.F. I understand that implementing all of these changes may necessitate another rate increase. However, if ALL of these suggestions are implemented, I would be willing to pay up to $_____ per year for a D.G.I.F. membership. Sincerely, Name ____________________________________ D.G.I.F. # __________ Address ________________________________ City, ST ZIP ____________________________ Country _________________________________ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= D.G.I.F. SURVEY =- Bill Jackson (billj@seas.smu.edu) April 24, 1992 Myra Wong and I are conducting a survey to determine the amount of time it takes for a D.G.I.F. issue to reach its destination. If you are a member of D.G.I.F., please send us the following information when you receive your volume IV, issue II magazine: Name: State of residence: Zip code: D.G.I.F. membership number: Date received: The results of this survey will be compiled and sent to D.G.I.F. along with a letter explaining our dilemma. Hopefully, once D.G.I.F. realizes exactly how long it takes for some members to receive their issues, they will reconsider their position. Please keep in mind, the more members that take part in this survey, the more likely D.G.I.F. will change its mailing practices. Information should be sent to either of the addresses given below: Bill Jackson (billj@seas.smu.edu) Myra Wong (mkwong@sdcc13.ucsd.edu) Thank you for your cooperation. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DG TESTIMONY ON THE AUDIO RECORDING ACT =- Patrick Colcord (Beaverton, Oregon) April 7, 1992 I recently wrote to my senator to get a copy of Debbie's testimony before the Senate Judiciary Subcommittee. She was testifying on a bill that would enact a royalty payment on the sale of DAT blank tapes and recorders. The following is her testimony before that committee. ------- DEBBIE GIBSON'S TESTIMONY ON THE AUDIO HOME RECORDING ACT OF 1991. HEARING ON S.1623, OCTOBER 29, 1991, 10:00 A. M., WASHINGTON, D.C. Statement of Deborah Gibson, ASCAP Songwriter and Performer Good morning, Mr. Chairman and members of the Subcommittee. My name is Deborah Gibson. I'm a songwriter and performer. I'm a member of ASCAP, and today I am proud to represent songwriters and music performers from around the world. I'd like to thank you all for the opportunity to speak to you about the Audio Home Recording Act, and I'd like to thank Senator DeConcini for introducing S.1623. Let me tell you how I became interested in a career in music. I guess you could say that from the time I could talk - I had the dream of being on the stage. When I was eight, I bought my first pop album, which was Billy Joel's "52nd Street." One year later, I saw him in concert and ever since that day, I knew that I wanted to be a writer/artist like him. My parents set up a recording studio for me in our basement at home in Long Island - and I practiced and wrote songs and auditioned and shopped my tapes around. I was fortunate to be signed to a recording contract, when I was 16, with Atlantic Records. The song that became my first hit really summed up my feelings about my success. It was called "Only in My Dreams," and it was a single off my first album, "Out of the Blue" which also launched three other top five singles, including a song that went to No. 1: "Foolish Beat." By the way, the RIAA certified this album triple-platinum - and to those RIAA representatives who are here today, I still say thank you. My second album, "Electric Youth," was a No. 1 album with two "gold" singles: "Electric Youth" and "Lost In Your Eyes." It was also certified multi-platinum and I certainly was very encouraged. But it's the title of my third and most recent album that I'd like to focus on - because it's called "Anything Is Possible." That's certainly the story of the popularity of my records to date, the great people I've worked with - and the fact that I've been part of a system that gives young people an incentive to follow their dreams. And that's why I'm here today. To make certain that others like me will have the same opportunity to follow their dreams. By supporting S.1623, you are protecting the future of all songwriters and artists - and that of the entire music industry. Let me explain how the DAT bill can accomplish this. I was born into a musical era that is both the best of times and the worst of times. Because of the wonders of modern technology, there are more outlets than ever before for playing music - and because of that fact, my hits were truly worldwide hits in every sense - for which I'm very grateful. On the other hand, the music trades and consumer press carried stories about countless financial losses due to unauthorized copying of our records - both at home and abroad. And, unfortunately, those losses were not just press items - they were real. I, along with other songwriters and performers worried - would we ever have the same chance at success as those who came before us? More important - would there be an industry left for us to be part of? S.1623 removes these sizeable fears because it compensates us for the losses we will suffer from copying by digital audio equipment. There's certainly no doubt that the DAT machines will generate more copying of our records than ever before. We all know how much copying went on with analog machines, which made *imperfect* copies of the original. Can you imagine how much more will go on with machines that make *perfect* copies of the original? I can - and that's why I'm scared. And I'm not alone. Digital Audio technology is a great advance - our music sounds better than we ever imagined possible. All of us who write and perform applaud it. But we don't want to see the hard-won protections for creators and performers of music that have come about over the past century stripped away. As I understand it, the present law does not deal adequately with the problem of how we would be paid for the perfect copies that would be made of our copyrighted musical works. As a result, all factions of the entertainment business including the hardware and software industries worked hard and long to achieve the compromises which address the interests of all of us and, most important, of the public. The public benefits when creators are encouraged to create and when the fruits of technology are there for the public to enjoy. We believe that your bill, S.1623, embodies the protections we so desperately need. It provides an updated legislative framework that will assure fair compensation for creators and a stable business climate for everyone. There's also another concern. Several other countries have already responded to the problem of unauthorized copying of music through use of a royalty like the one proposed in S.1623. Some of these countries do not protect foreign authors unless their governments also have this kind of legislation. In fact, in a recent report to this Subcommittee, our own Register of Copyrights, Ralph Oman, has stated that nations have a royalty provision similar to the one in your bill. I'd hate to think that American creators won't be receiving any hometaping royalties from those countries because the United States doesn't provide the same kind of protection. S.1623 is a wonderful solution. It represents a compromise resulting from years of controversy and negotiations; it enables a new recording technology to enter the United States; it provides for a modest royalty on digital tapes and recording equipment; it also contains a computer chip that prevents copies of copies to be made, thereby reducing our losses. I may be young - but I've worked very hard for the success I've had to date. My entire family has worked just as hard - as my sister, Karen, who is here with me today will verify. I've staked my future on music - I'm giving it everything I've got. I want to keep working at what I love; to concentrate on my writing and performing without worrying about whether I will be paid for the copying of my music - or whether the industry I'm so happy to be in will survive. Let me sum up the impact of S.1623 by quoting, if I may, from a lyric I wrote: "There is a world of endless resources. There is a mind full of outrageous dreams. There is a place where the two meet. Anything is possible." S.1623 proves that anything is possible by bringing all the different parts of our industry together to arrive at legislation that will nurture the incentive to create. Mr. Chairman, I greatly appreciate the opportunity of presenting my views to you. Thank you. ------- Even though I dearly love Debbie and everything about her, this is the only instance that I have ever disagreed with something that she's said. There is no reason for her or anyone else in her industry to be worried about Digital Audio Recorders. Not only is the equipment itself very expensive to begin with, but the blank tapes themselves are as expensive as CDs. It would make no sense for a person to record a DAT copy of another tape or CD. It would be cheaper to make a metal tape recording off a friend's CD instead. In a recent test among recording engineers, most couldn't tell the difference between a recording from a CD and a cassette copy of the CD. Even if you did make a DAT copy off a CD, we all know that tape deteriorates eventually with multiple playings, while CDs do not. Debbie's concern over new, up and coming artists is admirable. However, the music industry's corporate greed is something she should concern herself with. Record companies have lately paid little attention to new artists and instead have shifted their attention to stealing already established singers from other labels. We have all heard the outrageous sums of money being paid to people such as Janet Jackson, Madonna, The Rolling Stones, Paula Abdul and of course Sony's reported one billion dollar contract with Michael Jackson. Who ends up paying for all these megadollar contracts? We do. It only costs the record companies about a dollar to produce a CD and even less to create a cassette version. With cassettes and CDs being so overpriced, the labels are able to pay the huge sums that they do. There is absolutely no interest by any of the major recording companies to reduce their prices. In fact, they keep raising them despite the large amount of consumer complaints. Recently at the National Audio Recording Manufacturers convention, there were a lot of complaints from record store owners about the record clubs and the way they practically give away records to entice new customers. They were upset about the loss of business to them and they wanted the labels to stop selling to them. Some companies have stopped selling records to the clubs while others have considered lengthening the window of time between the release to the stores and the distribution of six months or more, after the street date of release, to the clubs. While Debbie may be a millionaire and the rest of us are not, she can certainly afford to buy any record and as many as she wants. We don't have that luxury. Until the labels reduce their prices (fat chance) to be more in line with the cost of producing recordings, the consumers desire to make homemade copies of their CDs and cassettes will go on unabated despite what Congress comes up with. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DG FINAL APPEARANCE IN LES MIZ ON 3/29 =- Michael Scheele (Kirkland, Washington) April 9, 1992 Les Miserables has been in production for over five years now. Its combination of classic literature, powerful plot, beautiful music, and quality cast has endeared it to millions worldwide and has earned it the title of "The World's Most Popular Musical." A newcomer to Broadway came along this season and breathed new life into this long running phenomenon. Deborah Gibson of Long Island entered a new phase in her career this year by putting aside her recording career and taking to the stage. The Imperial Theatre buzzed with excitement for nearly three months due to her presence in the play. The television cameras and photographers of her debut performance were missing this evening. Her friends and fans were in attendance to lend support and to see a wonderful play. More than a few were there primarily to see Miss Gibson in the role of Eponine. Regardless of their reasons for coming, the entire audience was treated to an excellent performance this Sunday afternoon. Deborah Gibson has improved markedly since her opening night in Les Miz. Her stage mannerisms were more natural and professional, never forced. As expected, her voice was pure, smooth, and sweet sounding. Her singing fit the tone of the scenes very well while retaining her trademark smoothness and perfect pitch. I was deeply impressed by the change; there were few, if any, hints that the actress who played Eponine was anything other than a capable denizen of the stage. Paradoxically, the less Gibson calls attention to herself, the more one appreciates her talent. This was especially apparent during "On My Own"; her mannerisms were quite appropriate for the scene and the song - she managed to obtain vocal extension without resorting to blatant "concert" gestures. Though somewhat less emotionally charged this time around, Gibson's singing was more of an integral part of a total performance. Understatement is often the ultimate spotlight. For those who were unable to see Les Miserables in person, I will summarize Gibson's performance. Her first appearance in the play is in the Ensemble, singing in chorus. She sometimes appears as one of the factory workers when "At the End of the Day" is sung. She sometimes (like this evening) appears as a "lady of the evening" singing "Lovely Ladies" - a most ironic scene. Other random appearances in the Ensemble also take place, varying each performance. Her first appearance as Eponine is when Marius first sees Cosette. She is a part of Monsieur Thenardier's gang of thieves; her character is definitely of the streets and certainly no angel. Eponine falls in love with Marius at this point while it is (mutual) love at first sight for Marius and Cosette. Love starts to lift Eponine to the light from the darkness of the streets. Unfortunately for Eponine, Marius is completely oblivious to her feelings and can think of nothing but Cosette. Eponine finds Cosette's residence for Marius and she longs for love that Marius cannot return. Eponine's despair shows in her portion of "In My Life." In "A Heart Full of Love," her voice is a lonely counterpoint to the growing love between Cosette and Marius. In "At the Barricades," the ending is a very emotionally wrenching "...little you know, little you care." This moment equals or exceeds the heartache in Gibson's "Where Have You Been?" - it is THAT powerful. Despite love that can never be, she loves Marius (altruistically) enough to convey a message to Cosette from his stand at the barricades. It is during this walk that Eponine's big solo, "On My Own," appears. Gibson does a superb job of conveying the strong emotions of this song. "I love him, I love him, I love him, but only on my own" is a line that will bring a tear to the eye. Eponine is shot when returning to the barricades to inform Marius that she has delivered his message to Cosette. I personally prefer Victor Hugo's plot; Eponine prevents Marius from being shot by taking a bullet herself. Modern audiences may find this a bit too cliche, but being the old-fashioned romantic at heart that I am, I find it noble. In any event, Eponine sings "A Little Fall of Rain" with Marius as she dies; this is a very sad moment of the play. Many in the audience cried at Eponine's tragic death. Eponine returns as part of a vision Jean Valjean experiences as he is dying. The trio of Jean Valjean, Fantine, and Eponine is fantastic. One cannot help but be touched by the line, "...to love another person is to see the face of God." The visual imagery of this scene is quite striking - Fantine, dressed in white, appears very angelic and Eponine, dressed in rags, appears Christ-like; it is a beautiful moment. The entire cast sings in the finale. Gibson's voice is so clear and distinctive that it is possible to pick hers out of the crowd. Though not a lead role, Eponine is definitely a key character. Miss Deborah Ann Marie Gibson deserved the standing ovation that she received at the end of the performance. The lead roles of Jean Valjean, Javert, Fantine, and the Thenardiers were superb. Gibson is fortunate to have the opportunity to work with and learn from these fine actors. The range of Mark McKerracher portraying Jean Valjean is amazing. Javert is portrayed by Richard Kinsey very ominously; a fine counterpoint to the character of Jean Valjean. Susan Dawn Carson plays Fantine; she is an excellent singer and clearly a major talent. The Thenardiers were portrayed with aplomb by Ed Dixon and Evalyn Baron who would find any drama or comedy within their range - never has cruelty and vulgarity had such a humorous face. It is interesting to note that only these roles plus Cosette and Eponine were held by the same people at the beginning and the ending of Gibson's run. Though improved, Melissa Anne Davis portraying Cosette was a bit out of her league in comparison. Marius was portrayed by an understudy as was Enjolras. Gibson was up to the task of proving to be an equal of these fine lead actors. I would have to rate this cast overall the best that I have heard (compared to the Original Broadway cast and others). Les Miserables is a powerful and moving story that remains touching no matter how many times one sees it. Victor Hugo must be thanked, first and foremost; may mankind always remember his inspired writing that transcends time and culture. The music was expertly provided by a superb orchestra section. The songs are very well written and do not betray the French-to-English translation of the lyrics. The stagecraft was superb; a rotating stage and modest props were sufficient to evoke the proper imagery and mood. The use of lighting and costuming were also well done. It was a polished production indeed and one that reflects five years of excellence. Was it worth it to see both opening and closing nights of Gibson's run in Les Miserables? YES!! I enjoyed myself thoroughly and I am quite glad that I was able to do so. I look forward to seeing Miss Gibson in a London production of Les Miserables. Negotiations are in progress, so this is not a certainty. Without hesitation, I highly recommend that anyone contemplating an overseas vacation factor in a trip to the theatre in London to see Miss Gibson in Les Miserables if this should come to pass. We shall find out "When tomorrow comes! " [Editor's Note: Michael Scheele recently called GMI to find out when Deb will appear in the London production of Les Miserables. They told him that if Deb ever appears with that cast, it will be next year.] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBWATCH =- Here's a summary of the known TV appearances that Deb has made since the last issue of BtL: 04/15/92: E! CABLE NETWORK E! did a Les Miserables 2000th performance special and started with a short clip of the current cast performance which Debbie was in of course. The scene then switched to the cast celebrating at an ice rink. Debbie was wearing a Les Miz cap and she was with the girl who plays the young Cosette. The host asked Deb of her experience doing Les Miz, and Deb said she really enjoyed working with the cast and that she loved doing it. Afterwards, they gathered around eating, and took turns singing accompanied by a singing machine, while the rest of the cast would get up and dance. Deb did a song, but it was not a song which Deb has done before in concert or on her album. The show was really more on Les Miz, so Deb got maybe about two to four minutes of footage out of the entire thirty minutes. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= QUESTIONS AND ANSWERS =- Q. Gary La Torre, Jr. (Lindenhurst, New York) Has anyone heard of Deborah making an appearance on the T.V. show "Attitudes"? A. Sandy Chen (ez003229@othello.ucdavis.edu) Deb was scheduled to be on the show in early February. Apparently, D.G.I.F. provided the producers of the show with the names of some members in the New York area, and these members were invited to a taping of the show. Unfortunately, Deb was either sick or unavailable during the day of the taping. Rumor has it that she would still like to make an "Attitudes" appearance sometime in the future. As a side note, Bryan Genesee was on the show the day that Deb was scheduled to appear. A short clip of the bedroom scene from "Street Justice" was shown (where Deb and Bryan kiss). No comment was made on this episode, however. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- According to Michael DiBiasio, the March of Dimes office in New York confirmed that Deb will not be at Walk America '92. We'd like to thank Wilson "Macgyver" Liaw for providing us with a summary of E! It is good to know that most of you are still keeping your eyes out for any Debbie Gibson TV appearances. For those of you who want to participate in Shaun Stuart's petition and/or Bill Jackson's/Myra Wong's survey, please do so with due diligence even though a deadline has not been specified. Comments on D.G.I.F. volume IV, issue II are welcome for the next issue. BtL 4.6 will probably be released in late May, but may be released in mid- May if the volume of submissions continues to be high.