=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 5, Issue 8 - April 26, 1993 DDDDD D D D D GGGG D D G DDDDD G GGG G G GGGG A Debbie Gibson Discussion Forum =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CONTENTS =- ADMINISTRATIVE NOTES INTRO BY GRAYSON GOSNEY - Grayson Gosney AUSTRALIAN _BODY MIND SOUL_ REVIEW - Paul Burnim _BODY MIND SOUL_ REVIEW FROM CANADA - Henry Lee LOSIN' MYSELF IN D.G.I.F. 5.2 - Michael Falkner DEBBIE GIBSON IN BILLBOARD AD - Rob Polinsky "SHOCK YOUR MAMA" UK 7" SINGLE - Glenn Stein BILLBOARD REVIEWS "SHOCK YOUR MAMA" - Rob Polinsky BILLBOARD ARTICLE ABOUT SYM VIDEO - Michael Falkner DEBBIE GIBSON IN GREASE? - Ada Ma DEBORAH INTERVIEWED ON BBC RADIO 1 - Dominic Thomas DEBWATCH 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. Opinions expressed in Between the Lines are those of the individual authors and do not necessarily reflect the views of the entire forum. All songs by Debbie Gibson are copyrighted by Deborah Ann's Music, ASCAP or Possibilities Publishing, Inc./ EMI April Music, Inc., 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 =- The administrative notes have been shortened a considerable amount. Information regarding submissions via e-mail, the supplemental "bouncing" mailing list, using Telnet to talk to other BtL members in real time, and obtaining GIFs and BtL back issues via anonymous FTP will now be sent to members upon joining the BtL mailing list. You may request this information from any of the BtL moderators listed below. Complete information will be included in the administrative notes twice a year. To submit articles by postal mail, please proofread and send them to the postal address listed below. Submissions should be typed or written legibly. To submit articles by FAX, please call (604) 322-5936. We reserve the right to edit, defer, or reject submissions without notice. BETWEEN THE LINES c/o Felix Ng 2137 Qualicum Drive Vancouver, B.C. V5P 2M3 CANADA For those of you who do not have access to electronic mail, you may subscribe via postal mail. Issues are printed with a bubblejet printer which allows six pages of text to be printed on both sides of one sheet of paper. Back issues are also available on one MS-DOS 3.5" or 5.25" high density disk (please specify disk format when ordering). Prices are at cost and are subject to change: Canada $3.25 Cdn. for 5 issues / $2.75 Cdn. for back issues on disk United States $3.25 U.S. for 5 issues / $2.75 U.S. for back issues on disk International 3 IRCs for 2 issues / 7 IRCs for back issues on disk 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. Issues are always mailed via first class. -= BtL moderators =- Myra Wong : mkwong@scf.nmsu.edu mkwong@ucsd.bitnet M.WONG3 on GEnie JSXS97D on Prodigy Felix Ng : fng@acca.nmsu.edu 1:153/710 on Fidonet Andrew Vernon : avernon1@ua1ix.ua.edu avernon1@ua1vm.bitnet =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY GRAYSON GOSNEY =- Grayson Gosney - Richmond, Virginia (ggosney@vtssi.vt.edu) April 1, 1993 I would like to say "Hello!" to all of my fellow Debheads out there all over the world. My name is Grayson Gosney, and I am a very new member of BtL. I am 18, and a freshman at Virginia Polytechnic Institute and State University. We call it Virginia Tech. I am majoring in the ever-so interesting field of psychology. I am going to minor in Theatre Arts, and I hope to one day attend graduate school and become a clinical child psychologist. I started liking Deborah with the release of "Shake Your Love," back in late 1987. I really didn't hook on to "Only In My Dreams" and I don't know why! I couldn't stand it at first! But one night, around 1:00 A.M., I heard "Shake Your Love" for the first time, and I loved it! I had to call the radio station to request it again, and of course the DJ played it for me! I liked her more and more with the release of each single, and I finally went out and bought the entire album. There is a major theme park in Virginia called King's Dominion, and every year they have a pop concert series. I was reading the paper one day in April 1988, and I saw that Deb would be there on July 9th! I went out immediately and got tickets, and I got fifth row. The concert sold out, and a lot of my friends that wanted to go couldn't because they waited until the last minute to buy tickets. The concert was excellent, but we almost didn't get to see her! Their concert venue is an outdoor amphitheatre, and the concerts there do NOT go on, rain or shine. It had been a really hot and humid day at the amusement park, and we were really looking forward to the show. The show was at 7:00 P.M., and about 5:30 P.M., it started to thunder and lightning, and pour down rain. They had to cancel the opening act, Times Two, and Deborah finally came on at about 8:30 P.M.! What a great show! I loved _Electric Youth_ even more, and I couldn't wait for that tour to kick off. One day, I called the concert line at the local Top 40 radio station, and they said, "Debbie Gibson with Milli Vanilli at the Hampton Coliseum, September 16th." I couldn't believe it. Hampton was about 80 miles from Richmond, so the distance wasn't a problem at all. That show was great, very energetic and aggressive, and MUCH wilder than the Out of the Blue tour! Believe it or not, there were a lot of people there in their 20's and 30's and they were all drunk! You would think it was a heavy metal show or something! But, I have not lost interest in Deborah through the years, and I look forward to her future projects. Of course, my dream is to one day meet her, or at least see her again in concert or something. I had hoped to win that phone call from D.G.I.F., but we all can't be winners. So, that's my story. Not a lot to it, but I look forward to being a part of BtL and look forward to whatever life has to bring us! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= AUSTRALIAN _BODY MIND SOUL_ REVIEW =- Paul Burnim - Brisbane, Australia (paulb@cs.uq.oz.au) March 29, 1993 This is a review of _Body Mind Soul_ that appeared in this week's Who magazine (the Australian equivalent of the U.S. People magazine). It is copied without permission. Body Mind Soul Debbie Gibson A child prodigy who landed her first record contract at age 16, Debbie Gibson writes, arranges, produces, sings and plays. Plus, she has that winning smile, a professional attitude and a nice "aw, shucks" demeanour. But Debbie isn't a teenage any more and Body Mind Soul - her fourth album - finds her somewhat awkwardly trying to free herself from the cutesy straitjacket she made for herself. In the CD booklet we see her styled as a cross between a Paula Abdul wannabe and a Prince protegee. The poor thing looks distinctly uncomfortable. From the opening few songs, there appears to be some re-invention going on in the music, too. Debbie has discovered the whiplash rhythms and loping bass lines of new jack swing, which Janet Jackson has been utilising for the past half decade. She co-opts the new style with slightly more panache than Olivia Newton-John did in her "Physical" phase, but that's about it. On "Shock Your Mama", Gibson coos such lines as "Baby, I'm here to teach you things you've only done in your dreams", but the effect is more amusing than sensuous. Alas, these turn out to be the most interesting moments on the album, as we soon return to normal programming with the annoyingly chirpy "Little Birdie" and the obligatory schlocky ballad, "Goodbye". When you stack Debbie Gibson up against cardboard cut-out record company creations, you do have to admire the fact that she writes and plays her own material - but that doesn't excuse a lack of soul, spark and inventiveness. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= _BODY MIND SOUL_ REVIEW FROM CANADA =- Henry Lee - Vancouver, British Columbia (lee@physics.ubc.ca) March 30, 1993 THE PROVINCE, Sunday, March 28, 1993 Showcase section - page B11 "Your Reviews"(Everyone's A Critic) [readers review/opinion on various topics] (typed verbatim without permission) Vince Forrington, of Surrey, on Debbie Gibson's new album: "Debbie Gibson returns to the music scene with her fourth -- and best -- album, Body Mind Soul. This time out, Gibson covers a wider range of music styles than she has in the past. From ballads like the heart-wrenching Goodbye to the nonsense-pop of Little Birdie and on to the funk-infused jams and breaks of Shock Your Mama, Gibson offers something for everyone. Unfortunately, many consider Debbie Gibson to still be a harmless teeny-bopper. But she has grown up and, like fine wine, she's improving with age. Fans and nonfans alike should check this album out, if only to hear the best track, the catchy and upbeat Love or Money." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= LOSIN' MYSELF IN D.G.I.F. 5.2 =- Michael Falkner - Eau Claire, Wisconsin (FALKNEMJ@CNSVAX.UWEC.EDU) April 6, 1993 The more things change, the more they revert back to what they were. D.G.I.F. 5.2 represented a big scaling back from the last two issues of the magazine, as the magazine reverted to bulk mailing (though some members received their issues just days after GMI had notified some who called about it that they were to be mailed), and there were no color pictures in the magazine. This magazine basically is centralized between the "Losin' Myself" video (with lots of pictures of Deb in various stages of the video, including some backstage/preparation shots) with a couple of other pictures of Deb at the American Music Awards and album parties, and the October calendar shot. Realistically, this may be the only look some of the non-VH-1 Deb-fans are going to get at Deb with the "Losin' Myself" video, and it basically gives a fair cross-section thereof. On the front cover is a picture of Deb's face behind the screen which is designed to obscure her for more of an effect in the video. It looks like a shot from the video, though I can't place where it comes from. On pages 2 and 3, Deb jam-packs the two pages with as much as she can write, in her own inimitable style. It appears, since the letter mentions the "Shock Your Mama" video and does not mention it as a next single that this may have been written just after the first of the year. She talks about the storyline which, as many of you know, basically pokes fun at Deborah's image while she goes to her boyfriend's parents and gives them one gigantic surprise. Most of the rest of the letter was Christmas recaps, including receiving a card from Chynna Phillips (of Wilson Phillips fame), and her trip to Blythedale Children's Hospital recorded for a New York radio station. Deb mentions seeing Lea Salonga in Les Miz, and, in family news, Diana has begun to crawl!! Page 4 - American Music Awards pictures with three members of En Vogue in one picture, and Tevin Campbell and Stepp Stewart in the other. Stepp looks different from when I last saw him. Page 5 - October Calendar Shot (also on back of CD booklet) Page 6-9 - Four pages of Questions & Answers. A question does address the video and its sexuality, and basically Deb just states she's more comfortable with it now than she was in the past. Then, she says the morals of young people are the biggest problem facing the world today. She addresses the fact that she has had to add a realism to her view of today's youth she may not have had in the past. The "Sex" editorial is discussed, as well as an interesting anecdote about Deb doing "Foolish Beat" in a karaoke booth on Long Island. Deb also confirms that she is not engaged. Grayson Gosney gets a question answered in the section about Broadway show-tunes. Pages 10-11 - Two shots of Deb in the fuzzy top and blue jeans from the video. The one on page 10 appears to be from the video itself, while page 11 shows a posed shot, hands on hips. Pages 12-13 - Pen Pals galore. Pages 14-15 - "Losin' Myself" video shoot highlights. Four shots of the set-up, one of which has Deb in a lot of rollers, another having Deb practicing her routine. Two shots of the performance in the video, one in the dress smiling toward the front. The second has Deborah in the black swimsuit-like thing whipping her head down, hair flying. Page 16 - Album party shots, including one with Carrie Sapp. Page 17, answered on page 18 - A wonderful piece of artwork, and a puzzle. Basically, it's a drawing of the classic "Electric Youth" castle with the eleven song titles of the _Electric Youth_ album inside. Really well done. The back cover has Deb in her white shirt in the beach scene from the video. She looks cold. All in all, a good look at the "Losin' Myself" video, in parts, for those members who did not see it, along with the usual fine battery of questions and answers. Although the style of the magazine reverts back a bit from the full-color of the last issue and the mailing of the last two first-class, it still is well done. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBBIE GIBSON IN BILLBOARD AD =- Rob Polinsky - State College, Pennsylvania (RAP115@PSUVM.PSU.EDU) April 2, 1993 On page 17 of the April 3rd edition of BILLBOARD, there is a full page black and white photo of Deborah. She has long, brunette hair, that comes down to her chest. She's wearing a shoulderless sweater. In the right corner, there is a message that says: LIVING PROOF DREAMS into REALITY "When I got the news in 1988 of my first No. 1 in BILLBOARD's HOT 100 with 'Foolish Beat,' I was in my living room in Merrick, New York rehearsing for my tour with background vocalists around the piano. It was one of our first rehearsals, and certainly one of the best!" [Signed Debbie Gibson with the usual line and two slash marks in the line.] Debbie Gibson, 1993 It's not a hit until it's a hit in Billboard =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= "SHOCK YOUR MAMA" UK 7" SINGLE =- Glenn Stein - Baltimore, Maryland (STEIN_GS@JHUVMS.HCF.JHU.EDU) April 1, 1993 I picked up the UK 7" vinyl and 5" CD single of Shock Your Mama today. Since someone's already reviewed the CD, I thought I'd review the 7" single. Debbie Gibson's "Shock Your Mama" probably won't, but the picture sleeve sure shocked me. The person who described the CD single didn't do it justice. In the picture on the front and back Deb is wearing a low cut, dark-colored, sleeveless, and fairly tight dress. The right shoulderstrap is off the shoulder in both pictures. As on the CD, the front cover is half-color/ half-negative. There is ample cleavage showing, which I found "shocking." The front picture is cut just below the chest while the back picture is cut above the knee. Even if you don't like "Shock Your Mama," it's worth getting just for the sleeve. Oh, what's on it? Side A contains the "Shock Your Mama" (London Apprentice Edit) which doesn't contain the rap. Side B is "Love Or Lust," the B-side to the American release of "Losin' Myself." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= BILLBOARD REVIEWS "SHOCK YOUR MAMA" =- Rob Polinsky - State College, Pennsylvania (RAP115@PSUVM.PSU.EDU) April 7, 1993 Plenty of new singles are out according to the April 10th BILLBOARD. Larry Flick reviews nine singles, gives a PICK to four of them, CRITIC'S PICK to two of them (including "Shock Your Mama"), and passes on three. CRITIC'S PICK -- New releases, regardless of potential chart action, which the reviewer highly recommends because of their musical merit. DEBBIE GIBSON -- SHOCK YOUR MAMA (3:14) PRODUCERS: Carl Sturken, Evan Rogers, Deborah Gibson WRITERS: C. Sturken, E. Rogers, D. Gibson PUBLISHERS: Possibilities/EMI-April, ASCAP; Warner-Tamerlane/Could Be, BMI (cassette single) Gibson places tongue firmly in cheek on an electric moment from her underrated 'Body Mind Soul' album. Wriggling hip-hop derived beats percolate beneath a flurry of C+C Music Factory-styled guitars and glossy synths. Above all, Gibson delivers a spirited vocal that takes on a pouty rap that leaves her kiddie-pop days in the past. Programmers should drop preconceived notions and give this a fair shake. Where does that leave us? Same boat, different album. "One Hand, One Heart" also scored a critic's pick when it was reviewed and he called it an underrated album, as well. The difference -- this is only the 2nd single off the album, so we still have a chance, no matter how great or small, to give this song a run for the charts. [Editor's Note: As of the issue date, "Shock Your Mama" has not been released to stores in the U.S.] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= "SHOCK YOUR MAMA" VIDEO ARTICLE IN BILLBOARD =- Michael Falkner - Eau Claire, Wisconsin (FALKNEMJ@CNSVAX.UWEC.EDU) April 15, 1993 BILLBOARD, April 17, 1993 Music Video section leader, page 38 "Gibson a Sexy 'Mama' In New Clip" by Deborah Russell, Writer LOS ANGELES - The tables are turned on a typical Parisian dinner, as Debbie Gibson and French director Lydie Callier attempt to "Shock Your Mama" in the artist's new Atlantic video. The offbeat clip, which features a delightfully devilish, scantily clad Gibson, is the second video from "Body Mind Soul" that attempts to ease Gibson's tricky transition from teen idol to adult chanteuse. Speaking from Paris, Callier, who is represented in the U.S. by The End, says she was eager to meet the challenge in bridging the gap between Gibson's teen and adult personae. She says she drew upon her own quirky sense of the ridiculous in conceptualizing the video, which was executive-produced by Shoot Again in Paris. "The only way to take Debbie to the sexy point, but also keep the freshness of childhood, was through humor," says Callier. "I wanted to show her as a sexy woman, but as one who likes to do tricks, to play, to have fun, and have fantasy." Callier and an all-French crew shot footage in various locations throughout Paris and in an actual Parisian home Callier describes as appropriately "bourgeois." The director's concept was to shoot the clip against the backdrop of a dinner scene was typically European. "I didn't want to make an American music video," she says. "In France, the way you behave at the table is very important." Callier's own background as a dancer and choreographer is evident throughout "Shock Your Mama." The director timed a number of the actors' movements to coincide with the tune's upbeat dance rhythm. "My instinct is always to work very close to the neat of the music," says Callier, who has been known to count "five, six, seven, eight" instead of shouting "action." "I didn't want to do choreography that didn't mean anything beyond showing a person who is sexy," she says. "Of course, Debbie dances well, but my purpose was comedy." Thus, the characters sit down at the table in unison, unfold their napkins en masse, and life their forks to their mouths as one. Gibson pulls the tablecloth off the table, dives underneath, and crawls past the legs of the diners, stopping to yank down the stocking of one of the older ladies. Her hosts are shocked further when she appears atop the table in thigh-high platform boots, a miniskirt, and sleeveless lacy top. Her meticulously choreographed moves are cut to accentuate their impact on the flabbergasted family. Shooting a video for an American pop star in Paris presented a number of challenges in the production, says Michelle Webb, video producer for Atlantic. The all-French crew worked with fewer hours per day than their American counterparts, and language presented a problem. Rehearsals lasted about four days, as Callier choreographed the actors' movements and collaborated with Gibson on her pre-existing dance moves, choreographed by Buddy Casimano. Shooting lasted about two days for about a total of some 20 hours. Perhaps the most profound challenge in shooting the clip was melding the influences of the French and American cultures, not to mention establishing an effective mode of communication, says producer Odile DeVars. But she notes that Gibson and Callier eventually disposed with a translator and met a happy medium using the universal language of dance. And while the shoot was difficult at times, the end result accomplished the goal Atlantic had set for the tune and for Gibson, says Webb. "This clip has fun sex appeal as opposed to serious sex appeal," Webb says. The initial clip from the album, "Losin' Myself", took a more blatant approach, virtually telegraphing the fact that Gibson was an _adult_ now, thanks to a video concept that was heavy on makeup and light on wardrobe. "We wanted to cross her over," says Webb. "We wanted people to notice she was grown up. 'Shock Your Mama' combines a little bit of the old with a little bit of the new." Included in the article was a picture of the family, dressed rather formally, with Gibson in the middle, wearing a black, back-less dress with a chain belt, black stockings, and the platform boots described. The caption reads, "Debbie Gibson's sexy antics wreak havoc on a bourgeois Parisian family in the new Atlantic clip 'Shock Your Mama' directed by Lydie Callier." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBBIE GIBSON IN GREASE? =- Ada Ma (PTHF72D on Prodigy) April 16, 1993 THE BALTIMORE SUN, Today Section Wednesday, April 14, 1993 by Liz Smith DEBBIE GIBSON is being tapped to star in a Broadway-bound, London revival of "Grease." If this happens, Gibson, who has worked hard to overcome her excessive wholesomeness--as a performer--will portray the virginal heroine Sandy in that '50s homage. (It's the star part and the songs are more suitable for Gibson's voice, though originally she had her eye on the tough- talking female hood Rizzo, played so memorably in the movie version by Stockard Channing.) The all-grown-up-and-alluring Gibson has a hot new single and video out this week, "Shock Your Mama," from her "Body, Mind, Soul" album. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBORAH INTERVIEWED ON BBC RADIO 1 =- Dominic Thomas - London, England (d.thomas01@imperial.ac.uk / djt@cc.ic.ac.uk) April 12, 1993 On Wednesday March 31st Deb was interviewed on Simon Bates' morning show on BBC Radio 1. The interview must have lasted for about quarter of an hour in total and they touched on some really interesting topics. I guess the most important bit of news from it is that, whatever _Body Mind Soul_ does, we can expect to see at least a couple more albums on Atlantic from her in the next few years. And there's some good news for UK fans, something we need right now since "Shock Your Mama" has been out for three weeks now and it hasn't got anywhere on the charts and apart from during this interview, I still haven't even heard it played on the radio. Actually, it seems to me like most of the British record industry are just completely ignoring her. Out of about five major record stores I checked in London's West End only one was actually selling the single and none of the music magazines I've checked even mentioned it, let alone reviewed it. I mean, how is it supposed to get anywhere if it's receiving minimal promotion and hardly anyone's even stocking it? Actually, HMV Oxford Street not only had the single but also about five import copies of BMS (a snip at only 17 pounds!). So, at least somewhere in London's still Debfriendly?! But the overall situation is not good. I only hope when BMS finally comes out on official release in a few weeks things pick up because I think it's a very good album and deserves to do well. Obviously the interview loses something in being transcribed but I've tried my best to follow what was going on as closely as possible. Anyone who desperately wants to hear the real thing mail me and we'll try and work something out. Enjoy! -------------------------------------------------- BBC Radio 1 - Wednesday, March 31, 1993 SB - Simon Bates DG - Debbie Gibson SB: O.K., hell of a row brewing... Debbie Gibson is with us. Where were you last summer??? DG: [laughing] I knew that was going to be your first question! SB: You were supposed to be starring in Les Miz, what went wrong? The last time I saw you was about fifteen months ago in New York. DG: In New York, yes. SB: And you were starring in Les Miz there and you were so successful and you said, [puts on high pitched 'Debbie' voice] "I'm gonna go to London and I'll do it in London in the Summer", and you never did! DG: I know. Well, there was some pressure from, I guess you could say, 'the business powers that be' to start recording another album and my sister was having a baby and my other sister was graduating high school. It was like everything was coming down at me at once and I said, "Oh God if I leave now... I'm gonna be in really hot water". But, I went to see Les Miz here last night actually, 'cause my friend Mark McKerracher who played Valjean in the New York production is now starring in it here. So, I went backstage and... the production here was so wonderful I was like, "I've gotta do it here!" [SB laughs] "If you do, you'd better stop maturing 'cause you're gonna out grow Eponine soon!" But, I'll try some day. SB: You know the worst thing about this place is that the moment you mention someone like Debbie Gibson is coming on, the phone rings with tips. [DG laughs] So, I haven't actually asked you this but, I'm supposed not to ask you, but I'm gonna say: there is a possibility, I understand, of you doing another musical here and... DG: Ahhh. [laughing] You got that tip really fast. SB: It's a guy at television who rang me and said, "Ask her whether she's going to do Grease or not." DG: Oh, that is so funny. Well, I auditioned yesterday. So news travels really quick. I'm still waiting to hear if they liked me or not, I don't know. SB: You auditioned? DG: Yeah. You gotta audition. They're not gonna hire you based on records. You gotta be able to carry in a theatre, it's a whole other thing, you know? SB: Why audition for Grease? DG: I love Grease. I love that musical. I've been offered it in the U.S. and I heard they were doing it here and I heard that the production's supposed to be really great. And so I got an appointment yesterday. So, I don't know. I can't believe somebody tipped you off to that already 'cause, you know, who knows I could be the wrong height. I could be too fat, too skinny, too weak, too strong, too whatever. There's so much politics in musicals. So, I don't know yet if I got it. SB: It's interesting [DG laughs] that I didn't know you auditioned. I thought if someone told me that you were actually in conversation about whether you were going to do it or not. And I imagined that what you'd do is descend from Mount Olympus and say, "Yes. I'll do Grease and I'll do it for three months. Just set it up and I'll be back" [DG laughs] You actually audition still? DG: Oh yeah. Absolutely. I mean, for Les Miz in New York I had to sing through a lot of the score. Because, you know, like when you're a songwriter you can write songs that are totally in your range and suited for your style and your voice, but when you're singing someone else's material, you know, they've gotta make sure. I mean the writer of Grease was actually at the audition. So, they wanna make sure you're gonna do it justice. SB: If it's gonna happen, when will it happen? [DG laughs] In the summer? DG: I think, in the summer. Yeah. SB: And how long will you sign-up for? DG: I don't know! This is so hypothetical. [SB laughs] If I get any word this week I'll phone you back. That's a promise. SB: Right. What's this? What is this? The new raunchy Debbie Gibson... DG: The "Shock Your Mama" thing... SB: Your mother will be furious! DG: Well, my mother's really hard to shock, to tell you the truth. SB: There are photographs of you, nice girl, everybody knows, Debbie Gibson. And there's a photograph of you in what looks like a very, very small uniform with a peak cap, I mean... DG: Well it's a little... you know... yeah. SB: It's all booby and thighy, isn't it? DG: It's, yeah. There's too much. I said, when we picked that photo, I said "There's too much... boob in that shot!" [both laugh] That's what I thought, but, the whole thing is, if you're gonna do a song called "Shock Your Mama" I guess you have to kinda go all the way with it. [SB laughs] I mean it's, what the song is really about is kinda like the girl next door who's working it and trying to shock someone's mama. So, it's rather appropriate, it's funny. Have you caught the video yet? SB: Let's have a listen to the song first... DG: O.K. [London Apprentice Edit of "Shock Your Mama" played.] SB: Mmmmm, I dunno... [both laugh] What does the video look like? Tell me, I haven't seen it. DG: The video's very funny because... SB: Are you wearing the same clothes? DG: No. Actually... SB: Thank heavens for that! DG: Actually I think my outfit in the video is more conservative than what's on the cover of this single. SB: Well, there's nothing on the cover of the single. DG: [laughing] Oh, come on! SB: So, what do you do in the video? DG: Well, it's more, it's like I go over to the "video boyfriend's" [laughs] house and it's like he's got a very conservative family and I kinda start shaking things up a bit. But it's very funny because the family's so proper, it doesn't take too much to shock them, you know. [SB laughs] So, it's kinda like what I would really do if I were to shock someone's mama. Which would be basically just dance on the table and... [laughs] SB: Mum actually is the executive producer, I never know what an executive producer actually does on a single but Diane Gibson is mum, isn't she? DG: Yes. Well, basically the executive producer kind of, even before you get a budget from the record company, the executive producer is kind of there overseeing the project, fronting the money. Basically my mum takes a chance on me before anyone else does. SB: Have you got a long term deal with Atlantic? What have you done now? Because you had this, like this hiatus, over two years almost, while you were doing musicals. DG: Right. Well I had, um,... First, I had a three album deal and then I re-signed for some more. So, I've got, yeah, I've got a ways to go with Atlantic. SB: So, so the situation... DG: Some more albums. SB: How many albums? DG: I said some more. I don't want to say exactly how many... SB: No, all right. DG: Some more. [laughs] SB: Some more albums. So, we're talking about a couple of years, three years. DG: Yeah, at least. SB: So, what's the plan now? Because if you do Grease, surely that messes up your... This is part of an album project or what? DG: Yeah. Yeah. The album's coming out here in a few weeks. It's called _Body Mind Soul_. SB: O.K. And this is also produced by Deborah Gibson. Who is Deborah Gibson? DG: [laughs] Me! My friends and ... SB: Why Deborah? DG: My friends and family call me Deborah but... You know everyone loves to have a nickname for you. So, I just went with Debbie 'cause people always call me that anyway. [laughs] SB: I asked you this a year ago and I said, "What are you now?" and you were a bit puzzled because you hadn't made up your mind. [DG laughs] You're an actress, I know, and you do musicals, I know that, and you do _this_ stuff. Is it possible to combine the three? DG: I think so. I mean, I look at people like Barbra Streisand and Bette Midler. They manage to do it quite well and, I mean, in the long run that's the kind of career I wanna have. I don't want my career to be based on MTV. SB: No, all right. DG: You know. I want my career to be based on being versatile. SB: You've chosen two women, Barbra Streisand and Bette Midler, who've had enormous disappointments personally, because of the work, and professionally. I mean, Bette Midler did a brilliant film two years ago, which bombed because of the critical reaction it had in the States. Is it more difficult for women, do you think? DG: Well, it's difficult for I guess aggressive women who do wanna be versatile 'cause people have a very tough time; people would much rather you be like a little... SB: Toy girl. DG: ...dance tart. SB: Barbie. DG: Yeah, yes. I think that somewhere inside of business people [laughs] they'd rather you, you know, be a puppet. And so when you get a Barbra Streisand it's quite intimidating and it's very intimidating to know that she does everything and does it all well. I mean, that's frightening. And people know that and... SB: And when she fails, people love jumping on that. DG: Oh, of course. Because they know, they know how talented she is. I mean, they know that she doesn't need MTV, they know that she doesn't need the hype. She's got real talent, which doesn't always mean trendy success. It doesn't mean you're gonna have a hit every month but it's so much better in the long run, I think, to have a real strong foundation. SB: You brought a good subject up there and that's the business of the Barbie doll versus the person who actually knows what she's doing and has strong ideas and strong opinions, and you have. As a lady, as a women, is it difficult? I mean, for fellas, fellas just say, "No. I don't wanna do it that way. I wanna walk across the stage this way." and everybody says, "Oh well. It's a man doing it." If a woman does it, it's very tough. DG: Oh and if a man is a sex symbol, I mean, it's just the greatest thing. If a woman's a sex symbol she's a bimbo. You know, it's just... SB: So, how do strike the balance? How have you worked that out? DG: I just try to ignore what people think, in a way, I mean, I think that, if I wanna play around with a sexy image I really try to make it known that it is just playing around. I don't, I don't really get off on walking around in little dresses and high heals [both laugh] you know, I don't... SB: Oh, what a pity! [Both laugh] DG: You know, I mean, that's, that's like kinda the acting part and the fun part of the whole thing. SB: But how do you look after your career? How do you make those decisions and how do you make it quite clear that actually you're the boss of your own life without offending all these sexist blokes who are wandering around basically wanting you on their arm and nothing else? DG: I think the thing is I did it from day one. Like from day one, when I was fourteen years old I was offered a song to record and everyone swore up and down, "This song is gonna go to the top... da da da da da." It never did, by the way. But, I said, "I'm sorry. It's not something that I wrote. So, it really, in my opinion, has nothing to do with me and you can get someone else to do it." You know? And I had that way of thinking from a very young age. So, people knew right off the bat that I was not fooling around, that this was my life, it was my career and, you know, I've followed through with that. SB: Relationships, Barbra Streisand, immense difficulties with relationships because she's a well known, big star and she's always found it difficult to find a guy, she said this to me, she's always found it difficult to find a guy who can adjust to that. Bette Midler, until she got married, same thing. I'm picking on the two names that you picked on. How about you? DG: Well, it's difficult because, you know like, one part of me is very old-fashioned and I wanna feel like 'the girl' but yet I have a habit of, I'll walk in a restaurant, I'll immediately start talking: "Table for two, non-smoking, da da da." You know, so... [laughs] SB: The guys shrinking off in the corner. DG: And the guy'll go, "Oh... O.K." So, yeah, it takes a very strong person to deal with me as just... my personality, I mean, not even having to do with any, you know, with the fact that I'm a performer. It's just I'm a very strong person. SB: It's a 'Mr. Debbie Gibson,' isn't it? Oh this is 'Mr. Debbie Gibson.' [DG laughs] But it is that principle, isn't it? So, how do you manage? How do you manage anyway, having a relationship on a long term basis when you're never there? DG: Well, I was telling you in the break that I had pancakes for breakfast and they got cold 'cause I was on the phone; I was on the phone with my boyfriend. I have a boyfriend and it's like, it's very difficult but, it's almost like you have to make a schedule for phone calls and, you know, it's hard but you make it work if you want to. You think, "O.K., well this is the time we can talk so, let's just talk." and... SB: How long's the relationship been going? DG: Since Les Miz, since... SB: Oh right! DG: Since you met me. SB: Now I see! Yes. DG: Ahhhh [laughs] SB: And so he's in the business. DG: Yeah, he's actually on tour with "Jesus Christ Superstar" in the U.S. right now. So it's very hard, 'cause he's in a different state every week and I'm in a different state or country every week and, you know, we just try to make our paths cross whenever we can. SB: And he feels no threat by you being _so_ successful? DG: I hope not! [laughs] I hope not. I mean, the good thing is that he has his own thing, I mean. It's not that it has to be someone in the entertainment field. It's like, if you're a plumber and you are devoted to plumbing. [SB laughs] I mean, it sounds funny but if you are focused on something and you have a passion for what you do and you have career goals that's kinda what it takes, I guess, you know, for me to click with someone. SB: O.K. Let's move on and very quickly just get it all tied up. You're in discussion about whether or not to do Grease here. [DG laughs] Right, this is supposed to be a secret and I didn't realize this is supposed to be a secret. And you've also got a couple more albums for Atlantic. So, tell me how the career's gonna go. Are you gonna do live concerts here? DG: I'd like to. I would really like to. Yeah, I just wanna kind of juggle it, I guess. You know? I'd love to, if Grease did come to be, I mean, I'd love to do live shows either right before or right after it. You know, so... [knocking sound in the background] What is that? Hammering going on? SB: Just someone trying to get in. DG: Yeah, right! [laughs] SB: It's always the same. DG: One of your devoted fans. SB: No, it's management. DG: [puts on squeaky voice] Ah, lemme in! [both laugh] SB: It's management... Don't they always try to do... DG: But I'd always like to, you know, I get bored doing one thing. So, I mean after being in the studio for a while I'm anxious to get out and perform live, after doing my own stuff I'm ready for a new challenge like musicals or whatever. So, I'd like to try to juggle it, make it all work. SB: So, apart from promotion, you doing anything here? DG: No. Just promotion this time out. SB: All right. Come and see us next time. DG: O.K. SB: By which time, presumably, you'll be starring in Grease and you'll have worked out the two new albums. DG: Boy, if this doesn't put pressure on the director. I wonder if he's listening. [both laugh] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBWATCH =- Here's a summary of the significant appearances that Debbie has made in the public eye between 3/31/93 - 4/25/93: 4/21/93 : HOWARD STERN (National radio show) Deb was Stern's guest for an hour during which he played some cuts off her new album, and she played songs like "New York State Of Mind," "I Come From America," and "Lost In Your Eyes" live. Diane, Deb's mom, was also interviewed. 4/22/93 : THE EARTH DAY CELEBRATION STARRING DEBBIE GIBSON (Live performance) At The Ritz in New York City, Deb was the last of ten acts to appear. She sang for over an hour, opening with "Love Or Money," performing a majority of songs from _Body Mind Soul_, a medley of older singles, "Lost In Your Eyes," and closing with "We Could Be Together." 4/23/93 : GERALDO (Syndicated television talk show) Deb joined Downtown Julie Brown and the cast of the "Class of '96" for that day's topic of "The Real Life Class Of '96." Clips of the new "Shock Your Mama" video were shown. Deborah also sang "Shock Your Mama" and "On My Own" to tracks. The Expose/Debbie Gibson concert scheduled to follow the Modesto A's minor league game in Modesto, California on April 17th was cancelled due to rain. However, Deb was heard singing "Kisses 4 One" during soundcheck. "The Mickey Mouse Club" failed to show the segment of Deb and Ansley Hamrick on April 20th, as previously expected. The new date for the segment is now July 13th. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- According to Rob Polinsky's pen pal, Josephine Goh, _Body Mind Soul_ was released in Malaysia in March and is doing very well. "Losin' Myself" was #1 for two weeks there. "Eyes Of The Child" has been released in Japan on the 3" CD format. The catalog number is AMDY5106. The second track is "Love Or Money." The picture sleeve is of Deb lying on the beach. According to Chris Foote, the "Shock Your Mama" video was shown in England on "The Chart Show." According to Dave Scutt, _Body Mind Soul_ will be released in England today, April 26th. According to Shaun Stuart, A*Vision (Atlantic's video department) has deleted all three Debbie Gibson home videotapes. This means no more videotapes will be made or distributed and retailers must make any returns by June 4th. In April 10th's BILLBOARD, "Free Me" is reported to have been recently remixed by Eric "E-Smoove" Miller. According to the CHINESE DAILY NEWS (4/23), Deb will be doing a promotional appearance in Taipei, Taiwan on April 29th. She is scheduled to play in Japan on the following dates: June 9th, 10th Sun Plaza Nakano; June 11th Kawaguchi. However, according to Jennifer Yeko who asked Debbie a couple of questions after the Ritz show, Deb will be starting in Grease in three weeks (mid-May) in London and will be in it for nine months.