=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 5, Issue 10 - June 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 TAMMIE EKKELBOOM - Tammie Ekkelboom INTRO BY JUSTIN SCOTT - Justin Scott INTRO BY TONY QUON - Tony Quon INTRO BY CHANNING HUMPHRIES - Channing Humphries BILLBOARD REVIEWS "FREE ME" - Rob Polinsky GREASE NEWS FROM AUSTRALIA - Paul Burnim OPINIONS GALORE - Michael Falkner NOT ONLY IN DREAMS DO DREAMS COME TRUE - Douglas Trapasso 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 mkwong@ucsd.bitnet M.WONG3 on GEnie Felix Ng : fng@acca.nmsu.edu 1:153/915 on Fidonet Andrew Vernon : avernon1@ua1ix.ua.edu avernon1@ua1vm.bitnet =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY TAMMIE EKKELBOOM =- Tammie Ekkelboom - Citrus Heights, California April 23, 1993 Greetings to Debland! My name is Tammie and I am nineteen years old. I have loved and admired Deborah Gibson since the year 1987 when she first surfaced onto the music scene. I still remember the first time I heard "Only In My Dreams." I was completely taken with this pop dance song and even more determined to learn about the girl making the music! The first time I wrote to Deborah was in late 1987, receiving a reply less than two weeks later. It was at this time that I was informed about a fan club that was going to be forming so I joined right away. At the time, there was no fan club name or anything! D.G.I.F. became official in 1988 and I am currently standing in the club as number 104 (!). I continued writing to Deborah and she kept writing me back, always personally. There was occasionally photocopied newsletters but I received more personalized letters than anything else. Even in the beginning, I knew how special she was. I just never thought she would have such an impact on my life. The first time I saw Deborah perform was during the Electric Youth tour. Unfortunately, due to illness, she had to cancel her Out Of The Blue show the year before. On August 26, 1989 I finally got to live my dream of seeing Deborah perform live. I was pretty close to the stage, but it was an outdoor venue so there was a wall separating us. Still, it was a dream come true. The second time I saw Deborah was on August 26, 1991 (how ironic!) during the One Step Ahead tour. This show was so incredible! I managed to get front row seats so I stood inches away from Deborah the entire night. It was so great! I shook her hand many times and I even brought her a big white teddy bear as an early birthday gift. Taking it from my arms, she squeezed my hand as she said "thank you," a moment I will never forget. Throughout the show, Deborah had been dancing around with this blue pom pom. At the end of the show, Deborah had given the pom pom to me. I now have Deborah's original "Shake Your Love" pom pom hanging on my bedroom wall. The dream of actually meeting Deborah has always been inside my heart. Inside, I really felt like someday it would happen. I just never knew that "someday" would be so soon! On February 9, 1993, Huntley from GMI gave me a call. He asked me if I could make it to a private album party in Los Angeles to celebrate the release of _Body Mind Soul_. He really emphasized that the reason he was inviting me was because I had been with Deborah for so long, he couldn't even believe I was number 104! He said that he "recognized my name" and knew that I was "a long time devoted fan." On March 3, 1993, I was finally able to meet Deborah Gibson. She is the sweetest person in the world. She recognized me as a part of the fan club, which made me feel great! We had the chance to chat briefly and have a few photos taken together. Saying goodbye was so difficult. However, Deborah treated me like I could have been her best friend. She shook my hand and gave me a hug, saying "It was nice to finally meet you." She is so easy going, down to earth and so real. Deborah is so unique, she has the most amazing quality about her that no one can touch, the quality that makes her Deborah Gibson. I think _Body Mind Soul_ is my favorite out of the four CD's. I especially love the cuts "Shock Your Mama," "Love Or Money" and "Goodbye." On that note, I should close this introduction. I am always wanting to make new friends and correspond with other Deborah fans. I feel very strongly that we really need to stay together and stay by Deborah's side! So feel free to write me or even call me, I love talking on the phone! "Lets build a bridge and meet half way...." Tammie Ekkelboom 7765 Loleta Avenue Citrus Heights, CA 95610 U.S.A. (916)725-7598 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY JUSTIN SCOTT =- Justin Scott - Granada Hills, California (VBCSC09E@VAX.CSUN.EDU) April 24, 1993 Hi! My name is Justin Scott, and I'm a sophomore at California State University, Northridge (about 20 miles north of Los Angeles). I've been a big fan of Deb's since 1987, when I first heard "Only In My Dreams." I was kind of out of the whole music scene at the time, but I knew I liked this song. I finally found out who it was, and kept enjoying all the other releases off of _Out of the Blue_. Then, I saw a short-lived show, I believe in September/October 1988, called "Flip!" on television, and they interviewed Deb while she was setting up for a concert somewhere. It was here that I first heard "Staying Together" and I was hooked. (That song still remains one of my top favourites by _any_ artist.) My musically floating-along continued through the release of _Electric Youth_ when I saw a promo for the album (and the EY video) on "Entertainment Tonight," and it was Debbie Gibson doing this song too! I fell in love with the fanfare at the beginning of that song, so I had to get this one on tape. I heard it on a countdown show, but didn't have a tape ready, so I got up the next morning at 4:30 A.M. to catch the beginning of the show to get "Electric Youth" on tape (it was right at the start of EY's climb up the charts) and taped the song (it was one of the remixes). I loved the song, and I put two and two together, and figured out I liked Deb's music! Then came June 1990, the time period that I finally became "musically conscious." Up to this time, I never really bought any music, and just taped stuff I liked off the radio. But, on June 22, 1990, I got a CD player and started buying music for the first time. I begged my parents to get me a Debbie Gibson CD for my birthday, which was coming up, but they didn't (which sets up a weird irony). I got some money for my birthday, and decided that I would get a Debbie Gibson CD (I wasn't sure which was the best) with it, next time I went to the record store. Well, I went with my mom to the mall a few days after my birthday, and she bought me the Les Miserables soundtrack as a belated birthday present (which was two days before Deb's birthday in 1990). Then, on September 1, I bought _Out of the Blue_, mainly because it had "Staying Together" on it. (Funny how I got Les Miz, then in like two days, I got a Deb CD.) I liked every song on it so much, I ran out on September 2 and bought _Electric Youth_! I was in Deb heaven! That was the start of my journey down the road to Deborah Nirvana! The rest, as they say, is history, and _Anything Is Possible_ came out, and I bought all the cassingles. I know the album didn't do all that well, but "Anything Is Possible" has kind of become my personal theme song, and that album is still my inspiration whenever I'm depressed or feel like something will never end! Deb rehearsed for her One Step Ahead tour about four miles down the street from where I live, but I never was able to get past security and meet her! Bummer. But I did finally get around to joining D.G.I.F. (Very Proud Member #10159!) and showing my true fandom of Deb. I figured it was the least I could do, as Deb's music has come to my aid many times in many situations. Of course, I bought _Body Mind Soul_ the day it came out, risking the chance of getting stuck at the record store (since the car wasn't working perfectly that day) and loved every minute of that one too! The current final chapter to this story is my getting access to Internet and found this mailing list! It's great being able to talk to all the other people like me! (For some reason, my friends all like rap or alternative only...I guess they just don't enjoy _real_ music.) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY TONY QUON =- Tony Quon - Vancouver, British Columbia (quon@sfu.ca / tquon@acca.nmsu.edu) April 24, 1993 Hello fellow Debheads. Well after reading all those interesting messages on the Internet and all those back issues of BtL I thought it was time to introduce myself. Shades of the Past, flashback to 1987... My first experience with Deb's music was when a friend of mine phoned me up and asked if I heard "Only In My Dreams" by Debbie Gibson. Being totally dazed that day, I replied, "No. Is she a new artist?" My friend didn't know, but told me that it was playing on the radio at that moment. After listening to "Only In My Dreams" for the first time, I said to myself that I had to get this album! I loved (and still do) the beat to the song that started it all for Deb. After listening to the _Out of the Blue_ album I fell "helplessly in love" with Deb's music. Every song on the album was a hit to me. I ended up buying Deb's debut album on CD a half year later and this was when I didn't even have a CD player yet! When I finally bought my CD player, I must have played OOTB a thousand times. Electric in '89 -- The Year of Deb When _Electric Youth_ was released in the States, my friend and I drove down to Bellingham, Washington to get copies of the EY CD. We ended up paying duty on the CD's but it was well worth it. (I wish CD's were released at the same time in Canada though!) As with the OOTB CD, I loved every song on EY. During my summer vacation to California in 1989, I ended up spending most of my money purchasing Deb posters and cassette singles. (I couldn't find any of these items in Canada!) Of course I brought my Deb tapes to play in the car. To top off my summer vacation, I was surprised to find a copy of Deb's Japanese Super-Mix Club CD. Splash Mountain in Disneyland was great but I loved Deb's remix of "Foolish Beat" on the Super-Mix Club CD even more! To end the summer of '89 with a blast I saw the EY concert the day after Deb's birthday on September 1st in Vancouver, B.C. It was a great night that I'll never forget. Deb has lots of positive NRG whether it's performing live on stage to writing/producing her own songs and that's one of the major reasons why I'm a Deb fan. One Step Ahead -- to 1991 As with past Deb albums, there was an accompanying piano/vocal/guitar music book. When _Anything Is Possible_ was released, I went down to my local music store to place an order for the AIP music book. It took a couple of months to get it in but when it finally arrived I was in for a big surprise! Little did I know that Deb's AIP music book (the only copy in the store) was a "red hot" item for two mysterious BtL members that I didn't know at the time. "Out of the blue" I received a phone call one night asking if I was a Debbie Gibson fan. Stunned by the question put forth to me by a complete stranger, I hesitantly answered with a yes while I was trying to figure out why and how this person got my phone number. This person turned out to be none other than Felix Ng who got my number from Nimet Damji who in turn got it from the clerk at the music store! Well after that phone call I believe that "anything is possible" when meeting other Deb fans! My other interests include: cycling, reading Sci-Fi books, watching "Quantum Leap" and "The Wonder Years," modemming on my Amiga 3000 computer, and writing letters. I've also entered a few of Deb's songs with the Deluxe Music Construction Set program for the Amiga. In closing (Deb Style) I would like to thank Felix Ng for introducing me to Nimet and Michelle, the other Deb fans in Vancouver (it's been two years but we finally met! Also thanks for telling me about Internet and for providing me with back issues of BtL. To Nimet and Michelle for those great Deb meets over the past couple of months. To Myra for adding me to the Debhead mailing list. To all Deb fans (we're all like family now!) and of course to Deborah Ann Gibson for her gift of music. Tony Q (D.G.I.F. 10851) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY CHANNING HUMPHRIES =- Channing Humphries - Huntsville, Alabama (chumphri@cs.uah.edu) June 11, 1993 I am 21 years old (and male, since the name makes no direct implication). I graduated from The University of Alabama in Huntsville in December 1992. I received a bachelor of science in computer science and mathematics. I am currently looking for a job as a programmer/analyst, and even though I am willing to accept a temporary job, I haven't had any luck yet. I've been reading BtL since June 1992 and have procrastinated writing my intro lately for hope of good news. I have liked Debbie Gibson since "Only In My Dreams" first came out. I heard it on the radio driving to school. I liked it immediately, but they didn't tell who it was. Actually I wondered if Expose had come out with a new album. A few days later, I saw the video and I could not believe that it was this one girl who was so young (one year and 19 days older than I, to be exact). I liked "Out Of The Blue" and "Shake Your Love" as well, but held off on getting the tape because I didn't buy many tapes in those days (no money) and had to be sure I could go in debt to get it. Well then came "Foolish Beat" and that was the clincher! I had to have the tape then!!! I finally got the tape and loved every song. I was amazed with Debbie's talent, just her voice, but came to find out that she wrote all the songs and even produced some. Wow! I don't go to many concerts, and the closest she's come to here is 100 miles away (me in high school with no money), so I've never seen her in person, let alone met her (I'd die), but wish I had. I also would like to have seen her in Les Miserables. I wish I could see her in Grease. I'm also an Olivia Newton-John fan, so it's great that she'll be Sandy. I was surprised she wanted to play the part Stockard Channing played in the movie. After all, Sandy is perfect for her -- the innocent girl gets a little wild. I still buy Debbie's CDs (all but OOTB, though it was my first CD) as soon as I can, whether or not I've heard anything off of them. I also get singles with otherwise unreleased songs, but usually cannot afford others. I have a few collectables and try to record any appearances I actually have notice about. I still love Debbie and her music, but I must admit that I liked it more when she wrote it all by herself, even if someone else produced it. I would like to see her take a fresh approach to writing lyrics and music the way I think she first did. She said she had a good feel of pop when she started, and she did, but it just changes so much so fast that I would like her to get her new angle on it by herself. I have faith in her that she can do it by herself. I just don't have faith in outsiders' helping her. This is just my opinion, and it is meant to be constructive, so I hope no one reads it otherwise. If you're reading, Miss Gibson, I hope you don't think this is offensive criticism and I love your work! I was glad to hear that "How Can This Be?" was released to Adult Contemporary stations. As pop has changed, this is more my style of pop. I think "Goodbye" would do well in the AC market also. I hope HCTB does real well as the next single and "Free Me" does well in dance clubs! I suppose I have rambled enough. Here's to Debbie's success! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= BILLBOARD REVIEWS "FREE ME" =- Rob Polinsky - Pittsburgh, Pennsylvania May 17, 1993 The following dance single review got a Critic's Pick in the May 15, 1993 edition of BILLBOARD. Critic's Pick stands for new releases, regardless of potential chart action, which the reviewer highly recommends because of their musical merit. Single Reviews -- Dance Edited by Larry Flick DEBBIE GIBSON Free Me (7:36) PRODUCERS: Carl Sturken, Evan Rogers, Deborah Gibson WRITER: not listed PUBLISHER: not listed REMIXERS: E-Smoove, Ralphie Rosario, Dewey B, Darryl Gustamachio, Scott Christian Atlantic 2001 (12-inch single) While popsters ponder "Shock Your Mama," club punters are served a set of astute house mixes of this contagious disco gem from Gibson's underappreciated 'Body Mind Soul' collection. Her matured voice works extremely well against E-Smoove's thick beats and Ralphie Rosario's underground bass lines. A tight edit of either producer's mix may revive interest at crossover radio. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= GREASE NEWS FROM AUSTRALIA =- Paul Burnim - Brisbane, Australia (paulb@cs.uq.oz.au) May 31, 1993 May 20th - There was a segment on Grease shown on the nightly news. Deb was wearing a pink and black dress. It has been on two different stations so far and I expect it will be in the paper tomorrow and the magazines in a week or so. Here are excerpts about Deb from the two news segments (the Australian segments are centred around Craig McLachlan). CHANNEL 7 NIGHTLY NEWS (6:13 P.M.) "Australian Craig McLachlan is set to star in the London revival of the hit musical Grease. The role made famous by John Travolta is attracting enormous media attention." "Just a taste of stage stardom today, Craig McLachlan and Debbie Gibson were still coming to grips with it all. The Aussie singer can't wait for his London stage debut." "By contrast they auditioned 750 actresses and singers hoping to find an unknown for the role of Sandy, before turning to the American pop singer Debbie Gibson." "The new production already looks a sure fire success, two months before opening pre-ticket sales total a whopping five million dollars." Every shot of Deb and Craig is of Craig carrying Deb in his arms. NATIONAL NINE NEWS (6:28 P.M.) "Former soapie actor Craig McLachlan is the latest Australian to make his mark in London's West End. He's about to star in the stage version of the hit musical Grease." "He's already a huge star in the United Kingdom, 'Neighbours' and pop tours made sure of that. Now for Craig McLachlan it's the West End stage, Grease is the show. And today Craig and his co-star American singer Debbie Gibson appeared in public together for the first time." "The movie made stars of Olivia and John, so it wasn't a difficult decision for Craig, when he was asked will you do it." "With or without side-burns, too good to say no to." "The show is costing four million dollars to stage. That original music from the movie became one of the biggest selling record albums of all time. Now with the two new faces, and two new voices the music companies are preparing for another bonanza." Going on that last statement, it looks pretty certain that the Grease soundtrack will be released in the United States. May 21st - There was a small article in the paper about Grease. COURIER MAIL "Stars are buddies, not rivals" The picture is of Craig carrying Deb, both smiling, Deb looks VERY happy. The caption is "TRAFFIC stoppers... Aussie star Craig McLachlan sweeps Grease co-star Debbie Gibson off her feet during a photo session in London yesterday." The London lunchtime rush stopped to stare while he posed for photographers with American pop star Debbie Gibson, who'll play Sandy in Grease. After two days of rehearsals McLachlan confessed he was hopelessly devoted to his 22-year-old leading lady. May 31st - Here is a transcript of another article about Grease. As usual, it is mainly about Craig with a brief mention of Deb. TV WEEK (June 5) Pages 4-5 CRAIG'S HONEYMOON IN GREASE! [There are three pictures accompanying the article] 1. Craig with wife Rachel "The West End? Are you kidding? Let's pack our bags! Let's go for it!" 2. No caption. It is a close-up of Craig and Deb's face cheek to cheek, both smiling. Deb's hand is caressing Craig's chin. 3. Craig McLachlan and Debbie Gibson... getting carried away with their roles in Grease. [Again, the now infamous pose of Craig carrying Deb] Within two days of arriving in London, Craig plunged into a gruelling rehearsal schedule with his U.S. co-star Debbie Gibson. The chemistry between Debbie, 23, and Craig is vital to the success of the show and judging from the banter between the two at the press call, they seem best friends. Craig admits: "Although I'm a Sydney boy and she's a New Yorker we do have a lot in common, with music, performing and theatre. We can sit and talk about anything." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= OPINIONS GALORE =- Michael Falkner - Eau Claire, Wisconsin (FALKNEMJ@cnsvax.uwec.edu) June 6, 1993 Well, the response to this month's poll was a bit smaller, but no less spirited. Thanks to all who responded, and here are the results: 1> What are your three favorite Debbie Gibson songs of all time? Foolish Beat 6 Goodbye 1 Lost In Your Eyes 5 In His Mind 1 Where Have You Been? 5 Red Hot 1 One Hand, One Heart 5 Between The Lines 1 Electric Youth 4 Fallen Angel 1 We Could Be Together 4 This So-Called Miracle 1 No More Rhyme 3 Losin' Myself 1 Who Loves Ya Baby? 3 Come Home (Wonder Years) 1 Out Of The Blue 3 When I Say No 1 Staying Together 2 Love Or Money 1 Silence Speaks 2 Another Brick Falls 1 Shock Your Mama 2 Sure 1 Without You 2 Shake Your Love 1 How Can This Be? 2 Only In My Dreams 1 The Most Beautiful Love Song 1 2> What are your three least favorite Debbie Gibson songs of all time? Reverse Psychology 5 Shades Of The Past 2 Red Hot 5 Love In Disguise 2 Helplessly In Love 4 In His Mind 2 Wake Up To Love 4 Electric Youth 1 It Must've Been My Boy 3 Fallen Angel 1 Negative Energy 3 Out of the Blue 1 Lead Them Home My Dreams 3 We Could Be Together 1 One Hand, One Heart 2 Over The Wall 1 Deep Down 2 Shake Your Love 1 Mood Swings 2 Come Home (Wonder Years) 1 Losin' Myself 2 Shock Your Mama 1 Anything Is Possible 2 Do You Have It In Your Heart? 1 This So-Called Miracle 2 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? 17 4 Most said that they did agree, for reasons similar to Norman Eliaser: "It's crucial that people understand that Deb's image change is artistic, and if Deb wants to criticize Madonna, that's her prerogative. I think the remarks were taken out of context, and with the timing of the "Losin' Myself" video, it was difficult for some people to interpret their intent, but they were well-intentioned." 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? 14 7 This question seemed to give an idea of some of the feelings of the list members, with John Rademacher speaking for the minority, adding some constructive criticism for Deborah: "Of course not. There are much better hopes for popular music and I'm sure something better will come along. Something always does. Besides, while I think Deborah does produce good pop music, I do not think it's the best or even particularly outstanding. She needs to take more risks musically and think up some lyrics that don't incorporate every cliche ever written." But, Marshall Weeks spoke for those who feel that Deborah deserves better credit: "Deborah sings, writes, produces, and arranges good quality music. Gibson is one of the few highlights in an industry where trash is popular. Deborah has good morals and taste. She is one of the few truly talented and decent show business performers." 5> Given how much Deborah is struggling with achieving success with her music, do you think Deborah's early success came TOO easily? 3 18 Most list members seemed to feel that Deb's success came not too easily, but more like too soon, and then many commented on how she had worked so hard before it all started. For the first time, I'll step out of the taker of the poll and explain why I think it was too easy: "For those of you who have the first video compilation, go to the area where the members of Deb's band are talking, and listen to a comment one of the guys made with respect to that Deborah was not damaged by the perils and the pain of pop music as it stood then. I think that had Deborah had some initial success, but also some problems before having two #1 singles and a #1 album, she may have realized the need to push herself harder on the music end of things. I think what happened after the third album was that Deborah panicked a bit, going away from the progression toward deeper music that she had done. The result was _Body Mind Soul_." 6> A recent topic on the bouncing mailing list has been the possibility that Deborah would be performing in a 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? 7 13 Most of the yes votes came from our friends in the Great Britain area, though some Americans said they would go, if they could. Many discarded the thought simply due to costs and time. [See one of the questions below for an idea...] 7> Do you accept Deborah's explanations about her sexier image? 13 7 This one kind of goes back to the main divisiveness that has gone through Deborah's fan base since the last two albums have seen Deborah become more sophisticated. Sara Gauchat explains: "She is almost 23 now... and she's not acting differently than anyone else her age -- she's just showing her age in the public eye. I think that being in Les Miz and being on her own (no pun intended) for the first time had a real impact on her. I think we have "Special K" to thank for that too!" 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? 10 10 This one provided a lot of division among the respondents. Most who said yes pointed to the Japan bonus tracks "Without You" (included with _Anything Is Possible_) and "Eyes Of The Child" (on _Body Mind Soul_) as indications that Deborah was slowly working her way toward that end. Some were very scared by that possibility, and even those who disagreed with the exclusivity of it said there might be such a change in emphasis, though it would not be total. I also asked these two questions: 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?? Some felt rather satisfied, and waited to see what would come next. Others responded with these thoughts: -- To still do "Skirts" in some capacity -- A major screen role -- A Central Park concert -- A rock opera of her own devising [This sounds strange!] -- Win a Grammy [I would add a Tony to this list.] -- When people start taking her seriously -- Accepting Deborah for the truly unique person she is ...and many others. 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? I got some good answers for this, but Sara Gauchat summed them up nicely: "It's definitely more than a love for her music that makes a Deborah Gibson fan. Her fans are a special group of people, and she knows it. We are a group of people who are willing to face ridicule from our peers to stand up for her and defend her in every way. We support her when she'd down and cheer for her when she's up. A true Deborah Gibson fan appreciates her for what she is -- a sweet, kind, funny, talented human being who's not that much different than us. Deborah fans know that her inspiration can get them through hard times, just as we can get Deborah through hard times." O.K., with that, let's try these questions on for size: Send votes by July 20th to: Michael Falkner or FALKNEMJ@cnsvax.uwec.edu 436 1/2 Water Street Eau Claire WI 54703 U.S.A. 1> In my talking to several Gibson fans and reading some of the mail I have received, I seem to get the impression that there are a number of fans that feel abandoned by Deborah's decision to do Grease. If her London run in Grease, for whatever reason, were extended several more months, would you feel that was the last straw and move on? YES NO 2> This question is a combination poll question / interest gatherer: In his comments to me, Jeff Tharp suggested that some BtL members could get together, write to Deborah, and send our letters to one place, where they would be sent as a group to London for Deb to receive. Do you think this is a good idea? YES NO 3> Do you think that there is an inherent bias against Deborah and her music in the music industry and/or in the media? YES NO 4> About a year ago on the bouncing list, an effort was started, though not completed due to a major financial road-block, to attempt to nominate Deborah for a star on the Hollywood Walk of Fame. Do you feel that Deborah would, for her work in music and in theatre, deserve such an honor yet? YES NO And now, three full discussion questions, which I will refer to as "Debhead Classics": A> It's not easy to work so hard on a project like the last album and basically see it go up in smoke on some major sides of it. If Deborah were to call you tomorrow from London and confide in you that she was a bit upset about how that turned out, what would you tell her? B> At the present time, there can be much confusion as to what Deborah has said in the past regarding her music and image and what she is saying and doing now. How would you reconcile this confusion in the eyes of these fans? C> After Grease, where do you think Deborah will go from here? Remember, the deadline is July 20th. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= NOT ONLY IN DREAMS DO DREAMS COME TRUE =- Douglas Trapasso - Trumbull, Connecticut (KXXW43A on Prodigy) April 12, 1993 A dream came true for me on February 23rd when I had the chance to interview Debbie for a magazine I freelance for called Hip. This is a three year old bi-weekly based out of Milford, Connecticut. We mainly cover the local music and political scene, but occasionally, we get a "coup"; an interview with a nationally known person or group. We recently published a short interview with NBC's Bob Costas; some of the groups we have talked to include Queensryche, Extreme and the Spin Doctors. My editor, Allison, knew who I wanted to interview. For over a year I had the idea in my mind that if I could somehow reach the right person in Debbie's organization, she would agree to talk to us. When I found out through Prodigy that Debbie was planning one of her promomotional parties in New York City, I put all of my detective skills to work! First I called her record company, and they gave me the name of the firm handling her publicity. I faxed them some of my old Hip stories, and hoped they would call me back with word that Debbie would be able to talk with me at some point during the party. Just a half-hour later, a woman from this firm called me back at work (fortunately, I wasn't really swamped with work that day _and_ my boss was on vacation!) She said that Debbie wouldn't be available for an interview the night of the party. _But_ she was doing interviews later that day, and she asked if I would be interested in that. I didn't have to think too hard about that one! (Although I still would like to interview her in person at some point.) I borrowed a co-worker's office, set up the speaker-phone and a tape recorder (borrowed from another department - my company really cooperated that day!) and waited. Just after five, I heard a faint ring (my co-worker has her phone set to ring quietly.) I picked the receiver up and greeted the caller the same way I've done it hundreds of times before: "Learning International, Douglas speaking." The voice on the other end responded with words I always hoped I would someday hear: "Hi, this is Debbie Gibson!" And we were off. For the next seventeen minutes, we had a great conversation. I felt like she was sitting right next to me! We talked about her career, Les Miserables, other teen performers, and of course, the decline of top-40 radio, and why she will never take a record company job in A & R. She came across just as I always imagined; confident but not stuck-up, enthusiastic, but very focused and disciplined. After the interview was published, someone at work asked me, "Is she really this intelligent, or did you make her sound good?" These are direct quotes, I told her. She is a lot more articulate than people give her credit for. I'll stop writing for now, and let you experience Debbie in her own words: BIG GIGS A Hip Interview with Debbie Gibson (Wait! Don't Turn the Page!) by Douglas Trapasso Debbie Gibson? In Hip Magazine? This one may take some explaining. But think about it. Debbie was the teen singer with a difference. Writing all her material, producing or arranging most of it, she proved that a teenager could express her ideas without the help of a "handler" behind the scenes. Her first three albums (Out of the Blue, Electric Youth, and Anything is Possible) may have dealt with young love as their main subject, but often with more intricate arrangements and songwriting than are normally seen in this genre. She's back in 1993 with Body Mind Soul, after spending three months on Broadway last year in Les Miserables, playing the role of Eponine. In talking with Debbie, what comes across most about her is an enthusiasm for her work combined with the discipline she brings to it. Debbie is now 22, about the point where the media starts their "Where are they now?" articles. She is determined not to have that happen to her, by keeping her irons in several different fires. But right now, promoting an album and upcoming tour are her top priorities. So when a magazine title Hip called Debbie's publicist requesting an interview, how could she resist? How do you decide which songs to include on each album and what to cut, because I know you write more than you need for each album? Debbie: It's tough, but with this album it was easier. There were songs that I really didn't feel belonged, that didn't have to do with the rest of the album. There are some songs that I feel really good about, that I know will show up on future albums, but then it makes more sense. It's kind of hard as writer to cut songs! Let's talk about "Les Miserables." What are some memories you have of doing it? Debbie: It was one of the best times of my life, doing that show. I had wanted to do that show ever since I was 15 and I auditioned for the original cast at that time. I felt like all the work I had done between the ages of 15 and 21 really paid off. Vocally, I was constantly working; I had built up my stamina vocally to the point that I was ready to do the show, whereas at 15, I wasn't. You didn't have rehearsal time with the cast; I did a lot of work by myself. It was really exciting to come to each rehearsal with something new to offer, and then as things went along, to really grow with the character, was very exciting. A little change of pace here. Most people who know your story know that when it comes to music, you're pretty much the boss in the studio. (Debbie laughs) Are you equally that way when it comes to the business side of the music business? Debbie: Everything stems from what I want, without a doubt, but at the same time, my mom is my manager and her talent is business. Sometimes I'm a little too polite for the business world! Behind the scenes, I can say what I want but I convey it through my mom and she takes it from there. Let's put it this way: No business decision goes down without my knowing about it, approving it and being involved in it. But at the same time, I do have people I work with in that area. Is it hard sometimes going back and forth between being mother/daughter and being manager/client? Debbie: Not really, somehow it just works, we don't even have to try. It's a very natural thing because she's always been the one who really looked out for me and my career. She never pushed me, but she always was the only person around who cared about me as a person and an artist. And that's just so important to me. Somehow we're able to sit at the dinner table and discuss business, and then discuss my sister at college, my boyfriend; somehow we're able to integrate it all. There have been a number of television programs in the past year; a number of "Donahues," about child stars who burn out, get in trouble with the law, etc. Why do you think this happens? Debbie: Because people don't have their parents around. A lot of child stars have parents who are more caught up in show business than their kids are. And kids count on parents to be stabilizing forces in their lives, not to flake out on them. I've seen a lot of young performers who don't travel with family; they travel with people who are older, people who are out for money, they are basically out to work the artist as hard as they can, and who cares if the artist is left burnt out. My mom is obviously not that way. And she has always said something that is really really important that I live by. 'People are gonna constantly kiss up to you and fill your head, because they love giving compliments, and they know they get things from that. You're going to get your share of criticism, too. You have to know when you're good. You have to know when you're not.' With that philosophy, bad reviews don't bother me and good reviews don't send me on an ego trip. Do you get a lot of letters from young people asking for advice about a music career, and if so, what do you tell them? Debbie: Yes, and it's the toughest question to answer because there is no formula; if there was, everyone would be a star. Part of what makes you strong, and able to handle a record contract once you have one, are the steps you take to get there. Keep knocking on doors until one opens. I literally knocked on them all. Also, if you're a singer, try to get into writing, because if you don't, you're at the mercy of other people. You can lose your own identity. Writing helps differentiate you from the next person. Is it true you turned down some early contracts, because they wouldn't let you records your own music? Debbie: Yes. I was pursuing a record deal from the time I was 12. But people didn't realize that I didn't want the gimmick of just being young. I wanted to sing my own music. People would come to me and say 'This song is a guaranteed hit, it's going to be done by such and such a producer and you can sing it and there you go. You're off.' And I would say 'But no, because this song has nothing to do with the other 100 songs sitting in my bedroom! What good is it going to do me in the long run? So yes, mom sand I said no a lot. Do you think getting signed is harder now than it was in 1985-86, when you started? Debbie: Yes and no. For my kind of music; the more melodic pop, yes. For new artists in rap and hip-hop, no. There are tons of people out there now expressing themselves; it's really cool to see. But I'm definitely glad I started when I did because I think people are getting away from pop music now. But there are still a lot of pop fans out there. Where do you see yourself over the next year or two? Debbie: Hopefully, I'll tour this summer, but in the near future I'll be performing at the Special Olympics opening ceremony in Austria. I love the Special Olympics! And there is a possible revival of the musical Grease. I always say "in the works' until it's all signed, sealed and delivered, because this is show business after all! That will probably happen in 1994. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- "Free Me" has been released as a promotional 12" dance single with six mixes. "How Can This Be?" has been released to Adult Contemporary radio stations as a promotional CD. Both songs have been given airplay on various networks. According to Paul Burnim, "Shock Your Mama" was released as a single in Australia on May 14th on cassette single and CD single (made in Germany). According to Jennifer Yeko, there are plans to release a song, performed by Debbie and Craig, from Grease as a UK CD single and 7" vinyl single in early July. It has been exactly 5 years since Debbie Gibson's "Foolish Beat" became her first #1 single in the United States. It made her the youngest person, at age 17, to write, produce, and perform a #1 song. We hope Deborah finds equal success in theatre and all aspects of her career.