=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S Volume 5, Issue 11 - July 21, 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 ROBERT MARTIN - Robert Martin D.G.I.F. 5.3 REVIEW - Justin Scott THREATS AT DEBBIE GIBSON - Chris Foote A NEXT GENERATION FEMINIST - John Rademacher SPECIAL BIRTHDAY ISSUE - Andrew Vernon MORE GREASE NEWS FROM AUSTRALIA - Paul Burnim "YOU'RE THE ONE THAT I WANT" REVIEW - Khurrum Habeeb Sair GREASE PREVIEW REVIEW - Khurrum Habeeb Sair 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 =- 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 FGHH54C on Prodigy 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 ROBERT MARTIN =- Robert Martin (romartin@heartland.bradley.edu) July 6, 1993 Hello Everyone, I'm 42, enjoy music, bicycling and am a MIDI hobbyist. We all share a love for the positive attitude that Debbie represents. She is a good example of what can be done when we set our minds on something. I first became aware of Debbie while watching "60 Minutes" or a show like that. Amidst all the exposes' and depression came a story about a young girl who wrote and played all her own songs. They showed Debbie at a piano and played a sample of her music. She showed an old spiral notebook and said she had dozens of songs written. I felt good just listening to her. She was full of enthusiasm and confidence. I bought her first album soon after and now have a friend whose music always lifts me up when I am down and puts a smile on my face. Look me up on The Sierra Network in Yserbius as Lord Thane or Robert. Or write me on TSN at 42057. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= D.G.I.F. 5.3 REVIEW =- Justin Scott - Granada Hills, California (VBCSC09E@VAX.CSUN.EDU) July 19, 1993 The following is a page by page description of D.G.I.F. Vol V, #3. (Note: Pictures are labeled TR, BL, etc., as abbreviations for top right, bottom left, etc.) Front: Deb, long hair, wearing a triangle-patterned T-shirt with a serious Cover expression. The "D.G.I.F." tag is purple in colour. Pg 2/3: Our letter from Deb. She explains this D.G.I.F. is late as she's been going all around on promotion, and she's writing this one from London. "Hopefully it [Grease] will be coming to the U.S." She also mentions Diana's 1st birthday and Karen's 1st Mother's Day, and that she is keeping a diary while in London and will be passing some "excerps [sic] along next time!". Pg 4/5: "Shock Your Mama" video shoot pictures. Pg 4: TL: Deb getting made up, hair up in a ball. TR: Deb in a chair, made up, full outfit on. Bottom: Deb pounding table (from video), jacket off. Pg 5: Top: Mother meeting Deb. Middle: Picture of whole family together (The Billboard picture, with Deb in her "revealing" outfit). BL: Deb with video boyfriend standing by a fountain. BR: Deb & Diane looking at Eiffel Tower. Pg 6-8: Q&A: First question: "Your new album ... is EXCELLENT. One thing that worries us is your song Goodbye. ... Are you saying goodbye to us?" (Amanda Davis). Answer: "No way! Be prepared to hear music from me 'til I'm a hundred years old!" There is no definite release date for Stepp Stewart's album, hopefully "late summer or early fall." "What is the best piece of advice your mother ever gave you?" (Tammie Ekkelboom) -- A: "Be yourself!" She goes on to mention she doesn't like how radio stations are run in response to a question regarding what she feels the worst thing about the music industry is. GOOD NEWS: "Are you going on tour to promote Body Mind Soul?" (Lynn Clark) A: "At the moment I'm working on my role in Grease, and will be performing in it until next April. However, there is talk of touring next summer. Also, a USO performance on the Intrepid was recently filmed for possible release." She also mentions Doug Morris (CEO, Atlantic) did want her to write "Shock Your Mama." "He said something like 'Why don't you write something wild, something that would Shock Your Mama?' I thought, 'That's a great title for a song!'" Pg 9: "When I Met Debbie", by Tammie Ekkelboom. It also has a picture of Deb and Tammie at the bottom. Pg 10: Craig and Deb (Grease shot). Pg 11: Grease logo (Looks like an Elvis head, with the outline consisting of "Grease is the word" while "wearing" sunglasses). Bottom: The much publicized picture of Craig holding Deb. Pg 12: Top: Craig & Deb in crowd entering theatre. Middle: same subjects two seconds later. Bottom: At a press conference. Pg 13: Top: Deb rehearsing (Her hair is BLONDE or something! It looks MUCH lighter than before. Maybe just from the camera?). Middle: Craig holding Deb again. Bottom: Another rehearsal shot. Pg 14: "Debbie Hits The Slopes" (Pictures from VH-1 Top 20 Countdown). Top: Deb on a ski lift with a microphone. Middle: Deb with her arms in the air in front of a mountain. Bottom: Deb & Kenny G. Pg 15: Deb's South East Asia promo tour. TL: Deb singing holding a _Body Mind Soul_ promo poster (small). TR: Deb being interviewed by "MTV host Sally Yeh". Middle: Deb at Hard Rock Cafe Malaysia with guitar. BL: Deb at an autograph signing party for fans. BR: Deb in "authentic Malaysian costume". Pg: Deb on a Russian ship for Fleet Week. 12 pictures in various poses 16/17 with various people. Imagine Deb with a cutoff-long sleeve top with the triangle patterns (same as the front cover) with a group of sailors and you basically have the idea! She was met by the Admiral of the ship, and the Russian band played the U.S. national anthem. She gave the master chief a _Body Mind Soul_ jacket in exchange for a Russian hat. Pg 18: A very, very cute picture of Deb with niece Diana in Easter bonnets. Also, it announces a new poster exclusively for D.G.I.F. members is available for $10 (U.S.) or $13 (International). Some 1993 calendars are also still available. Pg 19: Normal membership/pen pal stuff. Back: Four shots of Deb with a camera in French clothes posing like she's a Cover photographer. Good series of shots! GREAT issue overall, with lots of pictures and some new information. The only real downside (I hear the boo's coming already) is that it's black and white. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= THREATS AT DEBBIE GIBSON =- Chris Foote - Surrey, England (shufoote@reading.ac.uk) June 8, 1993 Reported in last Thursday's Daily Mirror, under the title of "The Protectors," an article was written about how famous women are living in fear of threats from men. Halfway through the report, there was a paragraph about Deb: "...for you can never tell, they say, when some crazed fan may strike. American singer Debbie Gibson knows the feeling. Throughout her stay in London, where she is appearing in Grease, she has been living in fear of a male sex pest. He sent her pornographic photographs and letters vowing to kill her 'within 48 hours'. Police arrested a 20-year-old man at his home in Leicester this week, but it won't make Debbie drop her guard. Three years ago, she was stalked by an American man who sent her death threats and even appeared on her doorstep. Richard Pelfrey is now serving a six-month prison sentence. But, as any woman in the spotlight knows, it can always happen again..." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= A NEXT GENERATION FEMINIST =- John Rademacher (jrademac@students.wisc.edu) May 6, 1993 Her Name is Deborah - A Next Generation Feminist After over a decade of backlash against the nominal advances American women had made toward equal rights, it is not surprising that new faces and conceptions of feminism have formed. While many think "feminism" is a pejorative term, its primary goal is the same as it ever was - to give women a playing field level to that of men. Equal rights, equal pay, equal power, equal respect and equal value to society are all part of a level playing field. One relative newcomer to the feminist discussion is of course Madonna, who some call the archetypal feminist icon for the 90's. She is completely in control of her career, her music, her image, her body and the media spotlight. She is a woman who commands tremendous power in the media industry. But Debbie Gibson is not a name usually associated with feminism. Deborah Gibson, in fact, has embodied many important principals of the feminist movement. When she began her career a gifted and talented youth, she had two societal strikes against her - being a female and being under age 18. Women have to contend with a glass ceiling blocking their rise to equality; young people have a concrete ceiling. Americans under age 18 simply do not receive all the rights or the respect of older people. As young women enter adolescence, many unfortunately begin to play the role society has written for them. They tend to become insecure about themselves, because instead of being encouraged to follow their dreams they are pressured to assume more subordinate places in life. But Deborah was oblivious to the strikes against her, or didn't realize that they were meant to keep her in place. Armed with her innate musical abilities, she wrote and performed. Her songs were about herself and her feelings, and most important, from herself. She forged her own path with a little help, but no extra pushing, from her family. When she persistently pursued her dreams of becoming a recording artist, she had no marketing genius sculpting her music or her style for her. Saving every rejection letter, she relentlessly persevered the corporate executives who didn't want to take her seriously, and didn't think she would sell. Finally, she convinced Atlantic Records to release a dance-club single. She had managed to crack the ceilings in place above her. By not being offered an album deal initially, she had to prove herself to the male-dominated music industry several more times. With the support of an extensive network of family and friends, something young women pursuing dreams rarely have, Deborah Gibson did finally secure a contract. No one owned her or her music, she had created her career herself. Ironically, Deborah did seem to cave in on one aspect of her deal: her name. Her given and preferred name was, of course, Deborah Gibson. But one way of symbolically diminishing young people and women is to use a diminutive form of their name. Thus Deborah became Debbie Gibson. Since she was apparently accustomed to those outside of her family and friends doing this to her name, she let it go. Unfortunate as this may be, Deborah still stands as a powerful role model for young women. Deborah overcame enormous societal barriers to achieve her success. She creates her art and her image herself. She writes about issues that people her age are experiencing and pondering. While she seems to write an inordinant amount of songs about boys and girls falling in and out of love, they are written by her for her peers, as opposed to being written by contract songwriters for the sole purpose of making money. And it is hard to deny that young women aren't concerned about love. As she has matured, so has her music and her personal politics. She now writes a few songs each album attempting to address social issues. Perhaps her most effective song addressing social issues is "Electric Youth," her personal anthem to the empowerment of young people. But even more significant to her role as a feminist are her accomplishments. In addition to the albums, hit singles and Broadway, she now signs and produces young artists like herself. Empowering them where she had to overcome barriers. Interestingly, Deborah has compared herself to Barbra Streisand and Bette Midler. Like these two, Ms. Gibson has had to constantly fight against stereotypes of women artists, and has surprised the powers-that-be in the industry with the control she exercises over her career. Deborah appears to have set the stage to become quite a powerful woman in her own right. And if she can inspire other young women to follow their dreams and break through the ceilings of society, she is truly a feminist for the next generation. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= SPECIAL BIRTHDAY ISSUE =- Andrew Vernon - Birmingham, Alabama (avernon1@ua1ix.ua.edu) July 11, 1993 All you could think about was that voice -- the way it slid into alto or pounced on that high note. That voice took you on a roller-coaster ride through the next six years of your life, following your ups and downs as if somebody had recorded a soundtrack to your life. For many Debbie Gibson fans, Deborah Gibson was the soundtrack to their lives. Who knows how many break-ups were scored to "Foolish Beat," "So Close To Forever" or "Goodbye." And, there are probably countless others who found the strength to go on from "Lead Them Home My Dreams" or "Stand Your Ground." You probably have stories of your own that you've been wanting to tell for months or even years. Now's your chance. The BtL moderators are planning a special issue for Deborah's 23rd birthday and we want to hear some of the stories that draw you closer to Deborah and her music. Maybe it was the day you bought that first single or perhaps it was your first concert. Maybe getting the chance to meet and talk to Deborah for the first time stands out in your mind. Maybe you found that significant other while enjoying Deborah's music. It could be any number of incidents or occasions involving Deborah or her work. Whatever it is, we want to hear it. If you've got a story to tell, send it to the moderators at the addresses at the top of this issue with the subject "8/31." We want to include as many Deb-memoirs as we can, so submissions less than 500 words will receive priority consideration. The deadline for submissions is August 20 and the issue release date will be August 31. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= MORE GREASE NEWS FROM AUSTRALIA =- Paul Burnim - Brisbane, Australia (paulb@cs.uq.oz.au) July 18, 1993 Here is a summary of TV and magazine mentions of Grease in the Australian media. (':' denotes a cut section of Craig-only info). JULY 6th - NATIONAL NINE NEWS (Channel 9) Brief mention of the opening night of Grease previews, the main info was that it was a full house and the audience loved it. JULY 15th - TVTV (Channel 2) Showed picture of Craig and Deb (scene from YTOTIW clip) and said, "It's break a leg to Craig McLachlan and Debbie Gibson for the opening night of Grease." JULY 16th - 11 AM (Channel 7) The curtain's gone up on Craig McLachlan's London stage debut, but in the true tradition of first nights, the star just made it to the theatre on time. A bomb scare almost ruined opening night of the smash hit musical Grease. London's glitteriety arrived in the usual style tonight, some in 50's fashion, others like the Bee Gees in Rolls Royce and Mercedes... ..but round the back of the theatre it was another matter.. ..here in the T-shirt and shredded jeans was the star of the show, a little shaken, and an hour late after a London bomb scare. : . The song and video were re-released this week and are racing through the British charts. : JULY 16th - NATIONAL NINE NEWS (Channel 9) Grease may be the title but the name on everyone's lips at the London debut of the smash hit musical was Craig McLachlan. : Despite tough competition, critics tip Grease will be a hit. Just to make sure Craig and co-star Debbie Gibson have released one of the shows classics which is racing up the charts like Greased Lightning. JULY 17th - TV WEEK (magazine) GREASE MONKEY BUSINESS Craig and Debbie seem to be treating this film clip as a bit of a joke... but they could be laughing all the way to the bank. . GREASE really is the word in London! Craig McLachlan and Debbie Gibson, stars of the stage revival of Grease, caused a traffic jam and attracted a huge crowd during the filming of the video for the first single, "You're The One That I Want." The video was shot in the early hours of the morning, with Debbie and Craig dancing on the facade of the Dominion Theatre, where the musical opens this week. "The video has a real `party/fun' atmosphere about it with workmen, little old ladies, businessmen and street kids singing and dancing along to the chorus," says a spokesman for Craig's management. "Between takes Craig kept the crowd amused by using a microphone to do some typical McLachlan comedy lines!" "You're The One That I Want" is the first release from a soundtrack album which contains material written especially for the "new 1993" Grease. In the revival Craig plays Danny and Debbie Gibson is Sandy - the roles made famous by John Travolta and Olivia Newton-John in the original Grease movie. JULY 17th - HEY HEY IT'S SATURDAY (Channel 9) Craig appeared live on this show at the (rival) theatre on the set of Sunset Boulevard where the host was talking about the opening of Sunset Boulevard. Only Deb related info was that they mentioned the release of the single YTOTIW and they showed about 1-1.5 minutes of the clip. JULY 18th - THE SUNDAY MAIL (newspaper) 'Grease' musical slides off stage . POLICE were called to a London theatre after an angry audience protested over the cancellation of the second night performance of the musical Grease, starring Australian soapie star Craig McLachlan in the lead, Scotland Yard said last night. Officers went to the Dominion Theatre in London's theatre district after members of the audience booed and demanded their money back. A hydraulic platform carrying a band jammed three minutes after the show started. The 2000 members of the audience were kept waiting an hour while technicians tried to fix it, but then the performance was cancelled. Up to 500 ticket holders protested and demanded an immediate refund. The crowd dispersed soon after the police arrived. Theatre managers asked ticket holders to return today for a refund or new tickets. VARIOUS OTHER MAGAZINE MENTIONS * NEW IDEA (July 17) - pic and article on Craig only about Grease. * COURIER MAIL (July 17) - pic of Craig, pic of Deb and small article about opening night of Grease, mainly about Craig. * NATIONAL ENQUIRER (July 21) - pic of Deb in Grease cheerleader outfit (also in US version of National Enquirer). * NEW IDEA (July 24) - pic of Craig and Deb from YTOTIW video clip. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= "YOU'RE THE ONE THAT I WANT" REVIEW =- Khurrum Habeeb Sair - London, England (khs@doc.ic.ac.uk) July 14, 1993 I received my copy of "You're The One That I Want" CD yesterday, and here is a song by song review. 1) You're The One That I Want (3.28) [John Farrar] This is the official release of the single. It starts off with Craig saying 'Electrifying...' It's an upbeat version of the original version by John Travolta and Olivia Newton-John, significantly different for it to sell. Deb's voice comes across with clarity, and is pleasing to hear. However, for me, this is probably a minute too short as I have already noticed the radio stations now squash this between other songs, or the DJ's speak over it. Vote 7/10. 2) You're The One That I Want (4.56) [John Farrar - Extended Version] For me, the best released version of the song. It has a natural tempo to it, and has sufficient musical interludes for DJ's to say whatever it is they have to say, without ruining the song. There is a nice mix between the lyrics and the "ooohs" and "ahhs" from Craig and Deb. Both their voices jell together in the chorus, so all in all a very good pop song. Also sounds very similar to the number they perform on the stage. Should do well. Vote 8/10. 3) You're The One That I Want (4.41) [John Farrah - Dub Mix] This one is one for the clubs - but not my cup of tea. Too many "oooohs" and "aaaahs," but what else do you expect from a Dub Mix? After the 3rd or 4th time of hearing, just about managed to like it. But still, I won't be playing this often. Vote 5/10. 4) Grease (3.14) [Barry Gib - Instrumental] This is without doubt the best song of the four. It is a real improvement on the original version, more so than the above. The only thing is that it is not long enough. Only the chorus is sung, by the cast of Grease, while most of the song is played by the band. I've been humming along to this ever since yesterday. Vote 9/10. On the whole, a good package aimed at the general UK public. Expect a top ten hit, if all goes well. Both the cassette and 7" have only songs 1 & 4, with the same front as the CD. It's a picture of Craig and Deb, within a big red heart shape, with a pink background. The Grease logo is also present on the top right corner. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= GREASE PREVIEW REVIEW =- Khurrum Habeeb Sair - London, England (khs@doc.ic.ac.uk) July 7, 1993 Ever since I heard that Deborah was in London and was going to play the part of Sandy in Grease, I decided that it was about time I actually went to see her live for the very first time. You see Deborah doesn't often come to the UK to perform, but this time, it appears that she'll be here for quite some time. The show was simply brilliant, and judging by the reaction of the audience, Deborah has a hit. Grease officially opens on the 15th of July, but from the 5th onwards, they are showing previews, just to gauge the reaction of the public as well as to solve small technical difficulties. By the time I became aware that Deborah was in Grease, all of July was sold out. Not to be deterred, on the day of the opening preview, I tried every ticket outlet in central London for a ticket cancellation, with no success. However, I persevered, and on the next day, Tuesday 6th July, I managed to get a ticket for that night's performance. Having bought the ticket at 3.00 P.M., I ventured to rear of the Dominion Theatre, where I met three Deborah fans, waiting for her to arrive. This was a shock, as I didn't think this breed of human species existed in the UK. But here was living proof. However, since I had left my car on a meter, I couldn't hang around, so I suggest to meet them later in the evening, once I had disposed of the car. I arrived back at the theatre at 6.30 P.M.. The three guys were still there. They informed me that Deborah had arrived in a blue Ford Scorpio together with Diane, but was hurried into the Stage Door without speaking to them. We waiting outside for another 30 minutes, but saw no sign of Deborah. I then made my way to the entrance, while the other three guys went to shop in Oxford Street (they never had tickets!). The seat I had been given was excellent. It was in the middle of the second row of the Royal Circle Front (that's the front part of the raised seating section) with a clear and unimpeded view of the stage. The performance was due to start at 7.30 P.M., but started 10 minutes late. During this time songs from the 50's were being played, setting the atmosphere for the rest of the show. It also allowed for the Dominion to fill, as a full house was expected. David Gilmore, the director, then appeared on the stage. He said a few words about the preview, and that in the event of any glitch, not to worry, as everything would be sorted out. Once he departed, the lights dimmed, the stage filled with smoke, and the orchestra began the introduction of "Sandy." And then Deborah appeared on one balcony, and Craig McLachlan on another, singing the song in unison. Wow! My first impression were what a voice - her albums don't do her justice! We were then introduced to the cast as they sang "Grease Is The Word." This was followed by other magical songs from the original film, such as "Summer Nights," "Grease Lightning," "We Go Together," and my favourite of the night, "Hopelessly Devoted To You." The power that Deborah generated from her voice is incredible, which balanced her softer and gentle verses in the early part of the song. If nothing else, just watching this rendition of the classic song was worth the entrance ticket. We were then treated to "You're The One That I Want" together with a Finale (which was a medley of the earlier songs). Once the show ended, the audience clapped and cheered rapturously, as they had done for each song. By the look on the faces of the cast, it appeared that they were impressed by the reaction of the crowd. Once the applause had subsided, Deborah and Craig left the stage. However, the Grease dancers began to invite members of the audience onto the stage for a ten minute jive session. This was a nice touch, and it was clearly the icing on a wonderful performance. Deborah sang all her songs beautifully and was steady with all her lines. In all of her numbers, except after "You're The One That I Want," she appeared with blonde hair - not that anyone could notice it was a wig. She then appeared in her now normal shoulder length brunette hair. If this is what I can expect from her during a musical, I can't wait to see her on tour! Once the performance ended, at about 10.30 P.M., I hurried over to the Stage Door, where a large number of people had gathered. The majority were female, all hoping to see their idol, Craig. However, I managed to bump into a gentleman, who claimed to be Deborah's drama teacher at Calhoun. While we chatted, we were told that the cast were having a celebration drink, and that they were likely to be some time. This was enough to make quite a few of the Craig's autograph hunters to leave, with one woman saying, "I'd have waited from him, if he were Jason Donovan." However, at about 11.00 P.M., out popped Debbie. Since most of the people had gathered around Craig's car, I was next to Deborah in no time. I handed her BtL 5.10, and asked her to autograph my programme. I must have been mumbling, as she kept asking me to repeat my name, and even though I kept spelling it for her, there is an 'n' where an 'm' should appear. However, she added the word 'Love' after I congratulated her on her performance. She spent the best part of ten minutes posing for photographs and signing pictures, and let out a small shriek of glee, when she met her old drama teacher. As always, Diane was behind her, watching over her daughter attentively. The manner in which Deborah handled the crowd was brilliant, supremely calm and patient. I departed the scene, once she was driven away. What is left are memories of a hugely entertaining performance, and the knowledge of finally meeting Deborah Gibson in person. Here's looking to the next time! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEBWATCH =- Here's a list of significant television appearances shown since the last issue of BtL. 07/13/93 : MICKEY MOUSE CLUB (The Disney Channel) A five minute segment was shown of Deb meeting one of her fans, Ansley Hamrick. They had spent a day together last fall. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- "Free Me" was released as a single in Japan on June 25th as AMDY-5109. "Love Or Lust" is finally available in Japan as the B-side of "Free Me." The cover of the single is black with white print, featuring a black and white picture of Deb with her arms outstretched to the sky. The "Shock Your Mama" video has been seen on MuchMusic, Canada's music channel, and the Super Channel which broadcasts in Europe. "You're The One That I Want" is the first single from the Grease soundtrack, released on Epic Sony Records in England. The second single will be "Summer Lovin'" to be released soon. The Grease soundtrack will be given a release date based upon the success of these two singles. The original versions of both songs, by John Travolta and Olivia Newton-John, spent multiple weeks in the #1 spot. Grease, which opened on the 15th of July, will continue to play at the Dominion Theatre in London. Ticket prices range from ten to twenty five pounds. Performances are every evening from Monday to Saturday, commencing at 7:30 P.M. BST. There are also matinees on Wednesday and Saturdays at 3:00 P.M. BST. For tickets, you can call (24 hours): 071-413-1411. For information, you can call: 071-580-9562 and 071-580-8845. Thanks go to Khurrum Sair and many other UK BtL members for all of the detailed information about Grease.