=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 5, Issue 9 - May 11, 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 MARSHALL WEEKS - Marshall Weeks OPERATION MEET DEB IN LONDON - Chris Foote MORE REVIEWS OF _BODY MIND SOUL_ - Sara Gauchat EARTH DAY CELEBRATION AT THE RITZ - Thomas Sartor DEBBIE GIBSON ON GERALDO - Michael Falkner OPINION POLL RESULTS AND QUESTIONS - Michael Falkner WHAT DO CRITICS KNOW? - Kimberley Kline 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 =- 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 M.WONG3 on GEnie mkwong@ucsd.bitnet 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 MARSHALL WEEKS =- Marshall Weeks - Glendora, California April 12, 1993 My name is Marshall Weeks. I am a 23-year-old student attending Mount San Antonio College in Walnut, California. My study major is communications. I will transfer to a four-year university to continue my studies. I aspire to work in the media in either the print or broadcast sector. I have been an admirer of Deborah Gibson for nearly six years. For many years, I was a listener to many musical styles including contemporary hit music or "top 40" radio, album-oriented rock (AOR), and "classic rock." This brings me to summer 1987, shortly after I graduated from high school, I was an avid classic rock listener. One evening, I was watching a portion of the television program, "Entertainment Tonight." One of the show's anchors began the next segment by mentioning a new singer. The anchor said something to the effect, "A 16-year-old high school student from Long Island, New York scores with her first top 40 hit. The song, "Only In My Dreams," is moving up the charts. Let's meet Merrick, New York resident and high school senior Debbie Gibson." A portion of the song's video was shown and there was a brief interview with her. I thought to myself, "Wow! A teenage girl and high school student has a hit record. Big deal. She's a one-hit wonder." I saw her on television and heard her on radio frequently over the next few months. It wasn't until early 1988 that I started to admire her. In April, she made an appearance in a Southern Californian shopping mall to sign autographs. She was in town to participate in a television special. I saw an advertisement in a newspaper saying the public could meet her. I went to the mall and I waited in line. By the time I was getting closer to her, Deborah already left. However, I still had fun and I relieved a free promotional glossy and poster from the mall's staff. After I saw the "Foolish Beat" video, I started to develop an attraction for her. She was cute. Debbie reminded me of a teenaged Olivia Newton-John. I also read a few teen-oriented magazines that had articles and color pin-ups of her. She impressed me that she was a lovely lady. A few months later, I saw Deb co-host the 1989 American Music Awards. She had her second album, _Electric Youth_, released shortly afterward. I loved the album's first single, "Lost In Your Eyes," and the video. I was happy to see that the single and album peaked at number one on their respective BILLBOARD charts. I also enjoyed the album's title track and video. I liked her more than ever. As much as I hate to admit it, I never saw her perform on the Out Of The Blue tour nor on the Electric Youth World tour. I will be mad at myself for missing her first two concert tours for as long as I live! I finally became a devoted admirer of Deborah Gibson in early 1990. With all the insipid music receiving popularity, I thought to myself, "Thank God for Debbie Gibson. She is one of the few truly talented and wholesome performers in show business. I feel great to know of her and appreciate her for who she is." In late 1990, Deborah released _Anything Is Possible_. Although the album sold less than her first two, I found a number of cuts enjoyable, especially the songs that Deborah refers to as the Mood Swings side. I finally saw her perform during the One Step Ahead tour. The concert was held at the Celebrity Theater in Anaheim, California on Sunday evening, August 25, 1991. I drew a few posters for Deborah to let her know that I appreciate her as a performer and for who she is as a person. An employee from the concert venue saw my drawings and gave me a backstage pass before the show. I was estatic! Needless to say, Deborah's performance was great! The only problem is that I didn't get to meet Deb after the show! She left before I arrived backstage. However, I did meet some people who were close to Deborah, including one of her dancers, Buddy Casimano, who signed my concert program. I gave my drawings, a bouquet of flowers, and a birthday card (due to the fact that her 21st birthday was only a few days away) to one of the venue's staff to give to Deborah. I hope she received them! I met a few spectators and talked for a while after the show. From this moment on, I knew that I would be a true, lifetime admirer, and friend of Deborah Ann Gibson! As of this essay, I still have yet to meet Deborah Gibson in person. However, I know one day, I will! I was thrilled to learn that Deb played Eponine in the New York production of Les Miserables. I know she was outstanding! I'm happy to see Deb has pursued other performing arts interests and look forward to see her achieve more accomplishments, including more performances on record, in concert, the theatrical stage, television screen, and eventually film. I, as in the situation with most other Debheads, have been persecuted for being a fan. I don't mind at all. I love Deborah Gibson! I will continue to proudly proclaim before the public that I love Deborah and am an admirer of her majesty -- the Honorable Electric Youth Lord -- Deborah Ann Marie Gibson! I love Gibson for her performing talents as an entertainer on stage. I love Deborah even more for her personality off stage. Her personality contains what so many entertainers performers lack. Deborah is charismatic, enthusiastic, friendly, benevolent, beautiful, and talented. She can sing, write, produce, and arrange songs, and can act, write plays, dance, and choreograph. Gibson has a gospel style and feeling in her music and is pure magic when she performs on stage. Deborah Gibson is Mother Theresa, Magic Johnson, Michael Jordan, Barry Manilow, Neil Diamond, Barbra Streisand, Billy Joel, Bette Midler, Elton John, Gloria Estefan, Amy Grant, Sandi Patti, Michael W. Smith, Olivia Newton-John, Madonna, Michael Jackson, and Karen Carpenter all wrapped up into one. It doesn't get any better than that! Deborah possesses all the qualities I admire in a person. I want to establish friendships with individuals who possess Debbie's characteristics. She has a strong Roman Catholic rearing from her large, supportive, and loving family. I am proud of the fact that Deborah and I are joint siblings in the Lord. I pray that God will bless me with a girlfriend and a wife who has a Deborah Gibson-type personality someday. MY FAVORITES Favorite Album -- "Electric Youth" Favorite Single Cut -- "Lost In Your Eyes" Album Cuts _Out Of The Blue_ -- "Out Of The Blue" and "Red Hot" _Electric Youth_ -- "Electric Youth," "Lost In Your Eyes," "We Could Be Together," and "Over The Wall" _Anything Is Possible_ -- "One Hand, One Heart" and "This So-Called Miracle" _Body Mind Soul_ -- "Goodbye" Video Clip -- "Electric Youth" Home Videocassette -- Live Around The World Career Highlights Playing Eponine in the New York Production of Les Miserables was Deborah at her best. Since I became a devoted admirer, I have organized a collection of Debbie Gibson materials. I collect any and everything pertinent to Deborah "Debbie" Gibson. I desire to correspond with and eventually meet any and all admirers, especially with those who live in Southern California. Feel free to write, call, and/or visit me anytime. My postal mail address and telephone number are printed at the bottom of the introduction. Please contact me and let's get together so we can talk Deb! Debheads, may your Electric Youths always be on the NRG UP side! We Could Be Together for Deborah. DG lives and rules forever! D.G.I.F. #10818 and extremely proud to love Deborah Gibson!, Sincerely, Marshall Weeks, Jr. 1644 South Sunflower Avenue Glendora, CA 91740 (818)335-5544 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= OPERATION MEET DEB IN LONDON =- Chris Foote - London, England (shufoote@reading.ac.uk) April 23, 1993 Well it all started on what seemed a totally innocent Monday evening. I just happened to glance at the music section on Teletext, and what do I read: "Debbie Gibson comes to London to promote her new album _Body Mind Soul_." After recovering from a near nervous breakdown, the phone rang and it was my friend Tania Carter (another local Debhead). She'd already phoned the record company to find out what Deb was doing during the week, and had got the full lowdown. Seeing as we live only a few miles from the centre of London, it seemed the best place to try and meet Deb was at Radio 1 (located in Central London), where she was doing an interview. After some panic-arranging, we'd managed to rustle up two other people who were willing to go with us (and more importantly) get up at 6:00 A.M. - during a vacation! Okay, so I know for most of you guys in the U.S. it's not such a big deal to see Deb "in the flesh." But seeing as it's been four years since Deb was last in the U.K., and we haven't seen her once (no, not even in concert), it seemed the ideal opportunity to (try and) meet Deb. So we join the story on a cold Wednesday morning...... 6.15 A.M.: Wake up, check, double check and triple check my bag to make sure I've got everything. 7.18 A.M.: Arrive at Morden tube station. Tania is already there. Now, just waiting for Richard and Louise. 7.32 A.M.: Richard arrives. 7.40 A.M.: Waiting for Louise. 7.44 A.M.: Tania realises we haven't got a marker pen for Deb to sign things with, and rushes off to get one. 7.47 A.M.: Tania returns, and we are still waiting for Louise. 7.53 A.M.: Louise finally arrives, dash for next train to central London. 8.40 A.M.: Arrive at Oxford Circus station - now where's Radio 1? 8.41 A.M.: Gain bearings, and head for Radio 1. 8.48 A.M.: Arrive at Radio 1. We're the first there. 8.52 A.M.: Richard and I survey the building, checking for any other possible entrances that Deb could sneak into. 8.57 A.M.: Tania bravely enters Radio 1 - prepared to face ridicule, and asks at reception when Deb is due to arrive. We are told she'll be arriving at 10.30 A.M., and at the main entrance - but that's AN HOUR AND A HALF AWAY! 8.59 A.M.: Starts to rain. 9.03 A.M.: Another potential Deb fan arrives. 9.06 A.M.: Cautiously decide to hit McDonald's for some food and to escape the rain. 9.20 A.M.: Nerves got to the better of me - I wanted to get back to Radio 1, I didn't want to miss Deb just for the sake of a Big Breakfast! Also I had visions of millions of fans arriving, and we wouldn't be able to reach the front. 9.24 A.M.: Arrive back at Radio 1 building, just two other fans there. 9.24.01 : Breathed a sigh of relief. 9.28 A.M.: Rain gets heavier. 9.31 A.M.: Start playing "Look, Deb's coming.....not!". 9.34 A.M.: Get tired of playing "Look, Deb's coming.....not!", and decide the next person who says that will get chucked into the nearest bin. 9.37 A.M.: Still raining, and getting colder. 9.43 A.M.: Another two fans clutching Deb memorabilia arrive - bringing the grand total of waiting fans to a massive eight. 9.50 A.M.: Due to the rain, decide to stand under the entrance to Radio 1. I start to count how many seconds pass before a security guard comes out, ordering us to move away. 9.53 A.M.: Surprisingly nobody says anything. 10.00 A.M.: Panic & nerves hit us (Tania and I in particular) - ONLY HALF AN HOUR TO GO! 10.03 A.M.: Tania and Richard interrogate every expensive or important looking car that passes by. 10.05 A.M.: Tania is positive that she saw Deb in a taxi which goes straight past the entrance. 10.06 A.M.: After an initial panic, we decided that Tania was probably hallucinating again. 10.10 A.M.: Several people pass by, asking who we are waiting for. Went through the usual "Debbie Gibson," "Who?" "She's an American singer," "No, still don't know" procedure - although in fairness, one guy knew who she was. 10.17 A.M.: Some frenetic activity occurs within the reception - is Deb on her way? 10.22 A.M.: No... 10.26 A.M.: Asked by a security guard to move away from the entrance - 26 minutes after moving there (quite a record methinks!). 10.30 A.M.: Deb's late! 10.32 A.M.: A limo with tinted glass pulls up by the building - OMIGOD, SHE'S HERE! Made a desperate rush for the camera. 10.33 A.M.: Still no movement from the limo. Now start to panic whether Diane is with her. 10.34 A.M.: Deb gets out, and takes shelter under an umbrella - no Diane! 10.34.02 : With no holds barred, Tania races up to Deb and welcomes her to England. 10.34.10 : A mass of flashes from cameras are let off - annoyingly not from me, as someone annoying #?!$%&@ gets in the way. By the time I get in a decent position, Deb had already entered the building. 10.35 A.M.: One of Deb's guards hands out pre-autographed pictures to everyone waiting outside (much appreciated!). 10.36 A.M.: We are all on a high - in particular Tania, as Deb said, "Thanks very much," to her replying to the welcome. 10.39 A.M.: Everyone outside reaches for their walkmans to listen to the interview she was about to give on Radio 1. 10.46 A.M.: The whole neighbourhood is given a free live version of "Shock Your Mama" from us. Bemused pedestrians walk pass. 10.54 A.M.: Interview finishes. There's another mad rush for cameras and various articles to be signed. 10.56 A.M.: Deb comes out. I finally manage to get a picture of her. Sheltering under an umbrella, she starts signing personal autographs. 10.58 A.M.: Tania asks Deb for a photo with her. To Tania's surprise, she says yes, and I take a photo of an ecstatic Tania. 10.58.20 : I ask Deb whether she could sign the cover to my copy of _Body Mind Soul_. She says, "Sure! Who are you?" 10.58.22 : Despite being in total awe, I must've said something faintly recognisable to my name, as she writes "Chris" on it. 10.58.27 : Deb starts to sign her name, but disaster strikes - the pen stops working due to rain! 10.58.31 : Deb says to me, "Oh no, my pen's not working - it's the rain, hang on, it's working again!" The pen springs back into life, and Deb successfully completes the autograph. 10.59 A.M.: Despite the guards telling her that they had to go, Deb waited until all autographs and photos had been made. 11.00 A.M.: Tania hands Deb an envelope containing many odds 'n ends, including a copy of BtL 5.3 and a troll(?!). 11.01 A.M.: Waving goodbye, Deb enters the limo and pulls away leaving the rest of us very happy (and dazed). 11.03 A.M.: Head back home to crash out. Well, that's it! As it all happened so quickly, it still hasn't really hit me that I've met Deb - but I'm sure it will soon! Oh, and out of all the photos I took, only one come out - and that has the back of Tania's head taking the majority of it out! Oh well, there's always next time - hopefully sooner than four years though ! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= MORE REVIEWS OF _BODY MIND SOUL_ =- Sara Gauchat - Hudson, Ohio April 7, 1993 I've come across two _Body Mind Soul_ reviews that have not yet been printed in BtL. Throughout the first article, they mistakenly make it sound like Deborah had virtually no input on the entire album, except on "How Can This Be?" and "Free Me." I wish they'd take the time to get their facts straight at least! They gave it a rating of ** (two stars). ORLANDO SENTINEL, date unknown, reviewed by Parry Gettelman. Growing up is hard to do - especially when you have a whole slew of different writer-producers helping you try to find yourself in their images. At odd moments here, it actually seems Debbie Gibson has the potential to make the tough transition from cute teen phenom to grown-up pop siren. But on her third album since her multi-platinum debut, the 22-year-old can't seem to make up her mind which siren she wants to be. Carefully made-up and styled for her CD booklet photographs, Gibson tries on the Pia Zadora look, then Madonna (blonde), Madonna (brunette), Lisa Stansfield, Barbra Streisand and Belinda Carlisle. The tracks are similarly chameleonlike and less convincing than her new visual images. On "Love or Money," produced by Carl Sturken and Evan Rogers, Gibson sounds like Janet Jackson. She has a stronger, surer voice than Jackson, but one Janet was really enough, and Deb sounds silly emitting that trademark Jackson squeak. On "Shock Your Mama," Sturken and Rogers have poor Deborah sounding like an annoying cross between Janet Jackson and Price-period Sheena Easton. Gibson doesn't sound terribly convincing rapping, either - at least I think she's supposed to be sort of rapping. The Sturken-Rogers-Gibson collaboration on "Free Me," however, is promising. It's pure disco, catchy, and danceable. The retro-thing works for Gibson - the early - '80s-style blue-eyed R&B of "Do You Have It in Your Heart?" is pretty credible, too. The swooning strings make a nice backdrop for Gibson's sweet little soprano. Gibson's collaborations with Paula Abdul's producer, Elliot Wolff, are predictably slick and shallow. "Little Birdie" and "Kisses 4 One" are unbearably perky. "When I Say No" has a commendable anti-date-rape message, but the lyrics are rather muddled ("Ego trips won't save you when your woman is deceived / Act upon what matters baby, not how you're perceived"). Eh? Phil Ramone, who has produced Paul Simon and Billy Joel, gets the anti- credit for the peppy, aerobics-music sound of "Tear Down These Walls." The saccharine ballad "Goodbye," produced by Sturken and Rogers, is a result of an ill-considered writing collaboration among Gibson, Carole Bayer Sager and Narada Michael Walden (of Whitney Houston fame). Maybe Gibson needs to take matters into her own hands again as she did on on her first hit, "Only in My Dreams." But then, "How Can This Be?", the only song here she wrote and produced herself, sounds like one of Gloria Estefan's lesser efforts. Gibson may look a lot older and more sophisticated now, and her voice has matured somewhat. But instead of growing more assured, she is playing the cute little copycat. Musician magazine, March '93, reviewed by J.D. Considine: The high point here is "Love or Money," in which our Deb offers her Janet Jackson impression. Do you really need to know what the low point is? O.K., I can see the point he/she has with the Janet Jackson thing, but even though this is a magazine geared towards "more serious" music, as most of the public would put it, they could at least dignify the album with a tad more expansion on the review! Well, these are two people who are obviously not geared up to appreciate the new, updated Deborah. Although I don't have the time to write a complete review, I have to say that I think the album is fabulous. It lived up to all my expectations, and I love it! Just for the record, my three favorite tracks on it are "Little Birdie," "Goodbye," and "When I Say No." Where Deborah's career will go from here - no one knows - but this album shows that she is definitely capable of maturing and changing with the times. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= EARTH DAY CELEBRATION AT THE RITZ =- Thomas Sartor (WFBV55D on Prodigy) April 23, 1993 Earth Day Celebration at The Ritz, New York City Thursday, April 22, 1993 The Headliner: Debbie Gibson and the Planet Groove Band In what may be her only concert performance of 1993, Debbie Gibson put on terrific show for her fans. Debbie's accompanying band was apparently pieced together just for this show - she needed what she called a "cheat sheet" when introducing band members to the crowd!! The band was prominently featured on many numbers - even on some of the dance-music numbers. They did a fine job throughout, as did her three great backup singers and four VERY talented dancers (one of whom did backflips!). The opening number was "Love Or Money," the lead-off cut from her latest album _Body Mind Soul_. It's a good uptempo piece, and she was nice enough to leave out the "warp sound" that comes on the album version. At the start of the show, she was dressed in a lace suit, covered by a black vest and black shorts. Someone yelled out to remove the jacket, and she replied, "What do you think this is, the 'Losin' Myself' video?!" For the first number and many to come, she moved to the beat as she sang, and danced right along with her dancers during the instrumental breaks. There was lots of flirting with these dancers, especially on "Shock Your Mama." The dancers, four males, wore simple, sometimes suggestive, outfits - changing them backstage during Debbie's ballads. One early highlight of the show was her medley of older hits: "Electric Youth," "Anything Is Possible" (the only cut from that album performed at all), "Shake Your Love," "Out Of The Blue," and "Only In My Dreams." It worked very well. In the whole concert, she performed EIGHT of the eleven songs from her latest album. While I haven't liked many of them much, she did a great job with all of them here. Among the best was "Losin' Myself," for which she gave a SULTRY delivery! "Goodbye" was pleasantly segued into "Lost In Your Eyes," and early in the show, she sang a strong rendition of "Foolish Beat." She talked to the audience on a few occasions, and got a lot of response! She made nice pitches for two of her favorite causes: environmental awareness and the fight against AIDS - the latter of which led to her song on monogamy, "Kisses 4 One." She also touched the hands of several audience members at the foot of the stage! Near the end of "Tear Down These Walls", she left the stage, only to come back at song's end in a tight black dress, and black hat with flowers! (Her hair this night, by the way, was dark, but not black). She announced that after the sheet music to "On My Own" was forgotten en route to the show, they were able to get it at the last minute, and a piano player, with the sheet music, got ready to play. From where I was, the spotlight from behind her made her look like she was radiating light, as she powerfully sang "On My Own" (from Les Miserables). She closed the show with "We Could Be Together," and as she's done in the past with this song, invited audience members to join her onstage! It was clear throughout her 90-minute set that the audience was here to see Debbie Gibson, and I was one of many to be more than satisfied by her performance. Debbie showed at this concert how great a performer she is. Here are the songs that Debbie performed at the concert: "Love Or Money" "Foolish Beat" "Free Me" Medley: "Electric Youth" / "Anything Is Possible" / "Shake Your Love" / "Out Of The Blue" / "Only In My Dreams" "Shock Your Mama" "Goodbye" / "Lost In Your Eyes" "Kisses 4 One" "Losin' Myself" "How Can This Be?" "Tear Down These Walls" "On My Own" "We Could Be Together" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBBIE GIBSON ON GERALDO =- Michael Falkner - Eau Claire, Wisconsin (FALKNEMJ@cnsvax.uwec.edu) May 4, 1993 Just as the dust was settling on what, with Deborah going to London for Grease as we speak, she appeared on the syndicated talk show "Geraldo" on April 23. Deborah appeared as a "surprise guest" in a show taped in Fort Lauderdale, Florida over the course of Spring Break 1993. This appearance was on a show titled and devoted to "The Real Class of '96." The show had several other guests, including some of the cast members of the Fox syndicated television show "Class of '96" and former MTV personality Downtown Julie Brown, now a reporter on the college scene. Deborah was introduced by Geraldo as having a "startling transformation" of her image while on the television screen a clip from the "Shock Your Mama" video was played. This clip had Deborah dancing on a long, black table in a white shirt and a short black skirt with thigh-high boots. Deborah then came out and performed a slightly altered version of "Shock Your Mama," with only the screaming break omitted. Deborah was dressed in that same black leather jacket that we have seen her in a zillion times before, over a black bodysuit. Deborah used the first verse and a half to go out into the audience and sang the "picked me up at eight for dinner at nine" line to a certain curly-haired young man in the third or fourth row -- her "Special K," as Geraldo called him later in the show, Kevin Wright. Honestly, reaction was mixed. There was some applause while Deborah entered from the back of the makeshift stage, but it really seemed that a lot of people were wondering why Deborah was there in the first place. As Deborah proceeded through the song, she did get some reaction with her choreography to the song, especially one sequence during the bridge to the rap. When she finished, Deborah joined the rest of the guests, and Geraldo tried several times to get Deborah into the discussion. Many of the college students in the audience wished to talk to the "Class of '96" people, while Deborah was able to get in a plug for _Body Mind Soul_, answering a debate that had been triggered by an audience member questioning whether the show "Class of '96" was really addressing the real issues that confront the college youth of today, specifically date rape. Of course, the correlation to "When I Say No" for Deborah was too easy. Deborah really seemed, to me, to lose a lot of attention from much of the crowd when she was challenged to defend her decision as not to go to college. She gave an answer like she could really have more experience doing what she had been doing over the course of the last six years and that she could not really adapt into the college scenes of the sororities and the like. Kari Wuhrer, an actress on the Fox program, really seemed somewhat condescending toward Deborah when it appeared that Kari was trying to cover up what appeared to be an obvious bobble on Deborah's part. Some older audience members expressed interest in Deborah's theatre career, and that led to getting a brief look at Kevin Wright. And I must make this comment: I don't think I have ever seen Deborah's eyes light up so much as she was asking Kevin to stand and be recognized. This woman is in love! More clips of the new video were shown, including the under-the-table antics of Deborah as outlined in the BILLBOARD review given in the last issue of BtL. As in many past appearances, Deborah closed the program singing "On My Own" from Les Miserables. I'm still trying to figure out what, besides promoting the album and the new single, Deborah was doing on the program. Maybe as an example of someone whom, through her life's career of music, was expressing some of the issues that shows like "Class of '96" do (or should, depending on your opinion). I think this appearance seems to show a disturbing truth: The fan base that she appeared to have at 17 and 18, the young people who buy records, seems to have almost evaporated, if the reaction of this crowd of college people is evident of how the young people, those who helped drive Deborah's career over the first two albums and all the success she had therein, feel about Deborah now. It will be very interesting to see if this is the case, and also if Deborah and her people pick up on it. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= OPINION POLL RESULTS AND QUESTIONS =- Michael Falkner - Eau Claire, Wisconsin (FALKNEMJ@cnsvax.uwec.edu) April 25, 1993 I can say without qualification that I was impressed with the reception to the idea of running a poll with each BtL issue, if the response to the first set is any indication. I was especially impressed with the dozen or so people who receive BtL by postal mail who responded. Thank you. Of course, with the abundance of events over the last couple of weeks, including Deborah's concert at the Ritz and appearances on radio and television, this article got pushed back to this BtL. Let's get right to the results and some comments. Yes votes are listed first. Note: Split votes were given when the respondents gave an answer that indicated a half-and-half sort of decision. 1> Do you like the direction that Deborah is heading with her music and her image? 17.5 11.5 Opinions on this question were strong. Andrew Vernon speaks on a yes vote: "Yes. It's a natural progression from adolescent to adult as well as a counter against an image which was far too innocent to believe real. Also, I seriously doubt the portrayal in "Losin' Myself" was an authoritative or even complete indicator of Deborah as a public figure or person." However, the no votes were equally strong, as evidenced by Marshall Weeks' response: "Deborah Gibson is now a young woman rather than a teenage girl. She says everyone has a sexier side; however, she doesn't need to show it." Marshall continues: "Deborah, go back to your wholesome image. No one likes your phoney [sic] sexpot image, especially me! Don't make excuses. I'm not buying them!" 2> Looking back, was the strip-tease in the "Losin' Myself" video a good idea? 13 13 This question, and the one above it, seem to indicate that if the respondents to this poll are indicative of the entire Debbie Gibson fan base, she may have caused a deep split therein with the apparent sensuality emphasis. 3> Should Deborah Gibson continue to collaborate with other artists on future work? 17 12 Basically, the respondents here were in two camps: Either they felt that the collaborations opened up some avenues for Deborah (the yes voters), or, as Ray Wilmott saw it, they didn't like Deb's previous collaborated work: "Songs she works on *alone* are consistently miles ahead of her collaborations. I wouldn't mind seeing her do some limited collaboration; one song per album, maybe? ...just to have some more variety in the sound. Other than that, she should lock herself away with a notebook and a piano when working on a new album!" 4> Should Deborah, if possible, change record labels for future albums? 17 10 This question rose out of collective frustration that Atlantic Records, in their lack of promoting Deborah, was not doing their end of the job. The responses, on the other hand, seemed to indicate some disagreement. Nimet Damji voted yes, but basically gives both sides of the argument when he said: "Atlantic doesn't seem to be promoting Deborah now but then we must remember that they opened the door for her when nobody else was." 5> Do you think Deborah should go back to a musical style more consistent with _Electric Youth_ and _Anything Is Possible_ rather than the style of music in much of _Body Mind Soul_? 11.5 17.5 Basically, much of the response to this centered on that she is older and going back would appear out of place. But Jeff Tharp has another idea: "The music in EY was truly her style. It stood out on its own. Debbie, please go back to that style. It's all yours; nobody ever had that style. It was beautiful music." 6> [For those who are now, or have been members of D.G.I.F.] Do you think D.G.I.F. is doing a good job? 14.5 8.5 Though most of the comments seemed to agree that D.G.I.F. could do better than it is, many felt that they were doing a good job compared to some of the other experience that they had. Some raised objections, though, with the mailing (bulk vs. first class), the treatment of fans by the staff, the journalistic layout, and other things they felt were not quite right. 7> Do you think the music climate is conducive for Deborah to have reasonable success with _Body Mind Soul_ and its singles? 10+ 16- Apparently, a lot of people still hold hope that it will turn around. Michelle Chobotar has an interesting idea to that end. "But I think a lot of it has to do with fans going all the way for her and promoting her much much more." 8> Would you prefer chart success over creative success for Deborah's career? 6 19 The few that said yes point to the fact that Deborah's not doing well with BMS may lead to her not performing or releasing as much as they would like. I think this poll seems to give the indication that a lot of the recent events have split the opinions of Gibson fans, if these are an indication of the Gibson fan base. Statistically, this is too small of a sample. (I am not complaining about how many responded, but just making sure that it is emphasized that this can't be taken without a grain of salt.) Now, to this month's poll. Again send results by June 5th to: FALKNEMJ@cnsvax.uwec.edu or Michael Falkner, 436 1/2 Water Street, Eau Claire, WI 54703, U.S.A. I'll start this issue's poll with two classically generic questions. 1> What are your three favorite Debbie Gibson songs of all time? 2> What are your three least favorite Debbie Gibson songs of all time? Now, for six yes/no questions. 3> Do you support/agree with Deborah's stands criticizing Madonna and her image which were outlined in a letter she wrote to the NEW YORK TIMES and were published and discussed elsewhere? YES NO 4> I know this is going to sound like a stupid question, but: In your _honest_ opinion, does Debbie Gibson represent one of the last good hopes for what you would call "good" popular music? YES NO 5> Given how much Deborah is struggling with achieving success with her music, do you think Deborah's early success came TOO easily? YES NO 6> Deborah will be performing in the London production of Grease. Given the costs and time involved, and the type of fan you are, would you go to see Deborah in England? YES NO 7> Do you accept Deborah's explanations about her sexier image? YES NO For the last yes/no question, I refer to an auxiliary comment by Jeff Tharp: "It's just so unfair Canada, U.S.A., D.G.I.F. members are being punished for low record sales. I would hate to see Debbie sell herself completely to Japan and S. Asia and leave U.S. and Canada behind." 8> Do you see a danger that, given Deborah has enjoyed much of her recent commercial success in SE Asia and Japan, that her music may be exclusively marketed in those areas of the world? YES NO And two questions that I really would like you to think about and answer: A> If there were one thing that Deborah could do in the future of her public career that would leave you saying, "I am now completely satisfied with Deborah's Gibson's career and accomplishments," what would that thing she could do be?? B> What, in your opinion, other than the love for Deborah's music, are the defining and binding qualities of a Deborah Gibson fan, if any such qualities exist? Remember, the deadline for this poll is: June 5th =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= WHAT DO CRITICS KNOW? =- Kimberley Kline - Bellingham, Washington (n9143165@henson.cc.wwu.edu) April 7, 1993 "Overproduced," "stalled career," and "desperation" have all been used by critics who have reviewed Deborah Gibson's album _Body Mind Soul_. This negative trend that the reviews are taking not only frustrates, but saddens me at the same time. No, I'm not sad because Deborah isn't receiving the reviews that I know she deserves; I'm sad for the critics who will probably never know the warmth, love, and joy that the songs on this album can put into your life. Into your heart. Recently, _Body Mind Soul_ touched my own life in a way that I never imagined. While it is true that Deborah has always had a talent for releasing the perfect song at just the right time in my life, this latest album has done more than echo my life...it has changed it. For the past year I have been a mere shadow of myself, walking around in a fog with pain greater than anyone -- even myself -- was aware of. This pain had been controlling my life by affecting my health, changing my outlook from positive to negative, and steering me towards the wrong sources for comfort. But, as I said, even I wasn't aware of the pain; it was locked in my subconscious. What caused all of this? The loss of a close friend. No, he didn't die, but it felt as if he had. You see, when he ended our relationship, I knew I would be fine...as long as our friendship remained intact, but it didn't. Yes, losing a boyfriend *was* hard, but losing the friendship that preceded, and was a large part of, the "romance" was like losing a part of myself. A man who had been a major part of my life for two years was now gone, and I didn't know where to turn. I had friends and family who were ready to listen, but I was so afraid of losing composure in the dark emptiness of my room. He wasn't always in the front of my mind, though. After a month or so, I went on with my life. Every now and then it resurfaced, but I always managed to bury it again in a few days. However, in late January, a few weeks after the release of _Body Mind Soul_, it all came rushing back, but this time it wouldn't go away. I couldn't listen to "How Can This Be?" and "Do You Have It In Your Heart?" without longing for him to come back to me. Deborah hit the bullseye with "When did this laughter turn to pain?" and "Nothin' seems right since you walked out of my life." For that's exactly how I felt. Believe me, I listened to every break-up song *imaginable*, but nothing hit the mark like these two did. The pain, the tears, the memories, they all came flooding back, but this time I couldn't stop them. I wanted to let go of them, but I didn't know how. That's where "Goodbye" came into play. I wouldn't have been surprised if I had worn out that song on my CD! Day after day I would play it over and over again, losing myself in the words, every one of them hit home... especially the chorus, "How do you say goodbye?" You heard the saying, "pouring salt on open wounds?" Well that's what these songs did, and I thank Deborah with all of my heart for putting them on the album. Do my thanks surprise you? If it weren't for a meeting of Christian college students that I observed for a sociology paper, they would surprise me, too. At that meeting a woman made an analogy between a broken bone and a broken soul. She said that like a doctor must re-break a bone that doesn't set right, God sometimes has to re-break your soul if He feels it wasn't properly mended. It was then that my question, "Why am I going through this again?" was answered; I never dealt with the pain in my life, I just shoved it to the back of my mind. But now, thanks to Deborah for writing songs that touched my life in a way I never thought possible, to my friends who have been there to listen (one of whom entered my world thanks to Deborah and D.G.I.F.), and to God for bringing them all into my life, I am back to my old self... Kimber has returned! She's happy, bubbly, full of life, and once again, the eternal optimist because she learned how to say "goodbye." As I look back at all her music has done for me, I ask myself, "What do the critics know?" I say they know nothing because they don't realize the positive impact that she has on those who listen. Maybe someday reviews will include responses from those of us who understand Deborah's music and listen to what SHE has to say about why she does what she does. Yes, it frustrates me that they don't give her the credit she deserves, but mostly I feel bad for those people who refuse to open up their minds and their souls to see what this music can do for them. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- The cassette single of "Shock Your Mama" is now available in the United States. It contains the (London Apprentice) Edit of "Shock Your Mama" and the Percapella of "Kisses 4 One." It is Atlantic 4-87363. On the Jukebox cable network, the video for "Shock Your Mama" is #926 and the video for "Losin' Myself" is #225. Jukebox allows viewers to request videos via phone for a small fee. According to Bob MacDowell who spoke to one of the managers of Jesus Christ Superstar, Deb was considered for the role of Mary Magdalene. The 20th anniversary production of Grease, starring Debbie Gibson as "Sandy," will be opening at the Dominion Theatre in London on July 15th. According to Paul Burnim, Debbie and Australian star Craig McLaughlin ("Danny Zuko") are currently recording the soundtrack for Grease. Most soundtracks for British musicals are released in England and Australia, but not in the United States. According to Jennifer Yeko, Debbie was on WPLJ in New York yesterday morning, May 10th, singing songs from Grease with some listeners. She confirmed that she will be recording the soundtrack and said that she is leaving for London at the end of this week. The station played "How Can This Be?" and Debbie announced that it is the new single.