=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B E T W E E N T H E L I N E S [tm] Volume 7, Issue 18 - November 13, 1995 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 KEVIN L. SMITH - Kevin L. Smith INTRO BY CHRIS GRAMBOWSKI - Chris Grabowski INTRO BY SHELLEY HAYHURST - Shelley Hayhurst INTRO BY BORIS LADWIG - Boris Ladwig DEB SHOWS HER TOUGH SIDE AS RIZZO - Robert Evans "DIDN'T HAVE THE HEART" SINGLE REVIEW - Raymond Wong A NIGHT AT THE "STEP BY STEP" FILMING - David W. Lemons CLOSING REMARKS =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DISCLAIMER =- Between the Lines (ISSN 1201-4826, electronic publication ISSN 1201-4834) operates on a non-profit basis. Distribution is permissible only under the condition that no part of it will be used for profit. "Between the Lines" and "BtL" are trademarks of Between the Lines. Copyright 1995, Between the Lines. This forum does not necessarily reflect the views of Deborah Gibson, GMI Entertainment, Inc., Electric And Musical Industries (EMI), 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 lyrics by Debbie Gibson are copyrighted by Deborah Ann's Music (ASCAP) or EMI April Music, Inc./ Possibilities Publishing, Inc. (ASCAP). =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= ADMINISTRATIVE NOTES =- Between the Lines has a central account and e-mail address. Please send all administrative requests and submissions to: BtL@btl.org 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. Submissions become the property of BtL. BETWEEN THE LINES 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 laser 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 $4.25 Cdn. for 5 issues / $2.50 Cdn. for back issues on disk United States $4.25 U.S. for 5 issues / $2.50 U.S. for back issues on disk International $6.00 U.S. for 5 issues / $3.50 U.S. 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@ucsd.edu Felix Ng : fng@btl.org =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY KEVIN L. SMITH =- Kevin L. Smith - Austin, Texas (Hpthrasher@aol.com) October 31, 1995 I have just recently joined BtL's mailing list, subsequent to my recent subscription to America Online. I cannot explain the excitement of discovering so many devoted listeners to Debbie Gibson. It is also overwhelming for me to read all of these stories about seeing her in concert and even meeting her in person. I am a student at the University of Texas at Austin, and currently I am a music composition/Radio-Television-Film major. As you can tell, my interests coincide with much of Debbie Gibson's work. This is what first brought my attention to her career, that at such a young age, she was able to show the world what she had to offer. I was determined to do this as well, but my parents' divorce held me back. It was a very tough time for my family. Luckily, though, she released _Anything Is Possible_ during this time, which truly helped me survive by lifting my spirits exponentially. "Another Brick Falls," "Lead Them Home My Dreams," and "This So-Called Miracle" were incredibly inspirational to me. This whole album touches me like no other and remains the best work she has done. Out of the scraps that were left out of my life, I was able to rebuild my music reputation and head off to college with a backpack full of dreams. Unlike so many of you, I have not been able to see her in live performance. That will change, though, in February, when she performs in Grease in San Antonio, the only performance in Texas. The anticipation for this event is unbearable, for I have waited years for this. Debbie Gibson's latest album and her recent promotional tours in Grease, etc. confirm her dedication and determination for her music to survive. And as long as her dedication lives, so will my dreams. Thank you again for this wonderful way of keeping in touch with fans and on latest information of Debbie Gibson. I will leave you with my favorite quote of hers: "There is a world full of endless resources. There is a mind full of outrageous dreams. There is a place where the two meet. Anything is possible..." Sincerely, Kevin L. Smith P.S. I would welcome any e-mail. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY CHRIS GRAMBOWSKI =- Chris Grabowski - Buffalo, New York (flipper@gcomm.com) November 1, 1995 Please allow me to introduce myself. My name is Chris Grabowski. I'm from Buffalo, New York. My job is a unique one. I work at the University of Buffalo as a computer trainer for blind and visually impaired people. Being blind, also it comes naturally. Well enough about me, here is my story on how I became a Debbie Gibson fan. I did not care for "Only In My Dreams" when I first heard it played back in the late 80's. Unsure what to think of this teen age pop star. I bought _Out of the Blue_ because I enjoyed "Foolish Beat." The following week I picked up _Electric Youth_. I collected the next two albums. I was not a real Debbie fan until August of 1993. That is when it hit me, I was just ending a relationship and I needed someone to lean on so I turned to Deb. That inspired me to write a song that I presented to Debbie on October 31, 1995 in Erie, Pennsylvania, after the Grease Production. I remember it as if it only happened a couple hours ago. Wait, it did happen a couple hours ago... The show ended. They closed the theater, I wanted to see if I could meet Deb and give her this gift that I've been holding onto for two years. My mother and I waited in the front of the theater until they shut off the outside lights, then we decided to make our way around back. We arrived in the back and there was a small group of fans waiting by the back door, so we decided to wait. About five to ten minutes later Deb came outside to greet us. It was my turn, I stood there and waited. Then I felt a hand grab mine, unable to see I was not sure who it was, she shook my hand then I realized that it was Debbie. I reached into my manila package and pulled out a copy of my song and handed it to her, telling her that it was written about her. She took it and said, "Thank you." I could tell by her voice that she was smiling. I pulled out another copy of the same song and asked her if she would please sign it for me. Those two minutes face to face with Deb made the entire trip worth it. The following are the words to the song that I wrote and gave to Debbie. The title is "Till the Morning." As I watched you walk away tonight, the darkness settled fast. I tried to cry myself to sleep so I finally did at last. I wandered alone in my dream, until I came upon a familiar scene. She was standing there all in white, shown like a star through the darkness of the night. We stood there looking at each other like we have done before, but I knew. I'll be with Debbie till the morning, she'll comfort me then leave me. I'll be with Debbie till the morning, then slowly turn away from this dream. In this dream I took her to the place that the two of us adore. Sitting by the river on the shore. I needed a friend to ease the pain, she was there when I called her name. She touched my hand and gave me a smile, let's talk for a while. As we sat and watched the ships go by, I told her about you and I. When we walked down the shore, I was wishing for nothing more. I want to hold you in the morning, but I know. I'll be with Debbie till the morning, she'll comfort me then she'll leave me. I'll be with Debbie till the morning, then slowly turn away I must face this reality on my own. I would like to thank you for allowing me to introduce myself. You can reach me on the Internet at either of the following addresses, both are checked daily: Flipper@bbs.bluemoon.net and Flipper@gcomm.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY SHELLEY HAYHURST =- Shelley Hayhurst - Tallahassee/Jacksonville, Florida (ShelleySH@aol.com) November 4, 1995 Hello all! I have been frequenting the AIP waves for awhile now, so I decided to go ahead and put my intro here in BtL. Here's some stuff about me: I'm 21, a senior at Florida State University studying art. I am concentrating on photography and graphic design, so hopefully, I will have a job someday doing this. Maybe someday you'll see my name in D.G.I.F. next to one of Deborah's photos! I can dream can't I? I have been a fan ever since I listened to _Out of the Blue_ all the way through. I just couldn't stop myself. My mom yelled at me for wearing headphones at dinner! One of the things I love most about Deborah is her personality. She's down-to-earth and honest. I get a big kick out of her sense of humor! What can I say? I love those corny jokes! But of course her music is what sparked my interest, and continually impresses me. Just last night I heard "Foolish Beat" on the radio, and I kept thinking to myself, "This is a really good song!" Duh, right? But it amazes me that I can still hear this song and feel it as much as the first listen. Now this IS talent! Another great way to see Deborah's talent is through her live performances. I was lucky enough to see her four times live. Once at a free concert in Jacksonville on the Out of the Blue tour, once in Orlando on the Electric Youth World Tour, once in New York City playing Eponine in Les Miserables (my favorite musical), and once in Miami a few weeks ago. She sang three songs like four feet away from me. That was amazing! I have met her twice, and both times I didn't say what I wanted to. She is such a warm person, and I am so grateful for her giving so much to the fans. She amazes me! _Think With Your Heart_ is my favorite album to date. I have always loved her ballads the most, these are incredible! I cannot put into words the emotions it brings. Deborah, I am counting the days until I will see you play Rizzo in Grease on December 3, in Birmingham, Alabama. I know I will laugh my head off! I hope a meet and greet will be possible, so I can tell you how great you are in person. Thanks for everything you have done for us. Oh yeah, say hey to Chris for me! Shelley Hayhurst D.G.I.F. #792 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= INTRO BY BORIS LADWIG =- Boris Ladwig - Terra Haute, Indiana (LADWIGB@coral.indstate.edu) November 6, 1995 Hello to all Debbie Gibson fans! My name is Boris. I'm 26, born and raised in Germany, studying Radio/ Television/Film and Journalism at Indiana State (and graduating in May). I've been a fan of Debbie Gibson ever since _Electric Youth_ which I think is her best album by far. Before _Electric Youth_ I had heard her singles on the radio, and thought they were alright. I like the stuff prior to EY, too, but almost nothing of her music after. I was fortunate enough to see Debbie perform in Les Miserables on Broadway and I plan to see her in Grease sometime this year. In Les Miz she had by far the most powerful and beautiful voice of the whole cast. And that power that she displayed on stage is something that I miss in her latest albums. My favorite song is the campfire mix of "We Could Be Together". I like pretty much all of EY, but somehow that song stands out. Here's my _Think With Your Heart_ review: I like "For Better Or Worse," "Didn't Have The Heart" (nice strings), "Too Fancy" (because it's refreshingly different from all her other songs), and the one I like best is "Let's Run Away." The reason why I like that song best is that she holds the notes at the end of the lines. Her vibrato on most of the other songs really gets on my nerves sometimes and I think she's holding back, not singing as powerfully as she could. In "Dancin' In My Mind" for example her voice sounds weak, as if she were afraid to raise her voice. I never felt that way listening to EY. In "Let's Run Away" she holds the notes on the words "care" in the first strophe, on "away" in the chorus and on "rain" in the second strophe. She holds the notes first and then fades into a slight vibrato which is what she should have done with most of the other songs. Her fading every line with a vibrato is, I think, another indication that she's holding back. She has such a strong, and beautiful voice and I wish she'd show it more often. "Dontcha Want Me Now?" has nice arrangements, but the guitar (or keyboard trying to sound like a guitar) sounds really weak. She should have asked somebody like Steve Lukather or Steve Stevens to play some guitar for her, some heavier more powerful stuff. I also like the mandolin in "Can't Do It Alone" and, despite it being far too short, I totally love the strings in "Tony's Rehearsal." Basically I like the four above mentioned songs, but only "Let's Run Away" comes close to EY's power. I think it would be great for Debbie if she got a different producer. Instead of producing the album herself, perhaps she would be better advised to get a producer like Quincy Jones, Desmond Child, etc. Somebody that leads her back to her non-withholding singing style that got everyone's attention in the early eighties. In closing I'd like to say that despite the fact that I'm not too fond of her latest albums, I think that Debbie is a great artist with a beautiful voice (my favorite female voice if she uses it like in Les Miz) and a great talent for music. I will continue to be a fan and am hopeful that soon she will release more music that will "knock me out" like the _Electric Youth_ album did. I can't wait to see her (or more importantly hear her) in Grease, and hope that I get to meet her. Thanks Debbie for all the great music you have given to us and good luck with your future projects. I'd be happy to respond to any comments or questions you have about this review or just chat with you about Debbie and her music. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= DEB SHOWS HER TOUGH SIDE AS RIZZO =- Robert Evans - Morristown, Tennessee (evansr@planetc.com) November 7, 1995 The following article appeared in the October 29, 1995 edition of the KNOXVILLE NEWS-SENTINEL [Showtime]. Showtime is a weekly newspaper insert for local events such as movies, concerts, plays, club scene, etc. The front cover of this edition had Debbie's picture covering the entire front page dressed as Rizzo with the black and pink (Pink Ladies) jacket. Deborah was also blowing a bubble from pink bubble gum while showing a serious stare forward. There were two more picture's of Deborah on the inside of the newspaper insert showing Deborah lying down with a black leather jacket and black jeans. Another picture looks to have been taken from the same photo as the picture used on the Deborah Gibson Web Site. The following article was written by Doug Mason--NEWS SENTINEL entertainment writer. Pop goes American culture. The Broadway musical "Grease"--which debuted in 1972--is a tribute to being young and innocent in the rock 'n' roll 1950's. Today, the show is also a nostalgic reminder of high-energy, strictly-for-fun '70s entertainment. The play ran for years on Broadway (as has the '90s revival), and the 1978 film version became the most successful screen musical of all time. And when the national touring company of "Grease!" slides into the Knoxville Civic Auditorium this week, it'll bring a reminder of yet another slice of American pie gone bye-bye: Featured in the cast is late-1980's teen pop star Debbie Gibson of "Electric Youth" fame. Gibson, who plays Rizzo, is a new addition to the "Grease!" tour. She'll be appearing in Knoxville at the end of her first week with the show. Playing the male lead, Danny Zuko, is fellow '80s personality Adrian Zmed, who played Officer Vince Romano from 1982-85 on the TV police drama "T.J. Hooker," hosted the syndicated "Dance Fever" from 1985-87 and was a star of the 1982 movie sequel "Grease 2." Amed has extensive stage credits and made his Broadway debut in the original production of "Grease." The supporting cast offers '70s mini-icon Sally Struthers, Archie Bunker's little girl Gloria on "All in the Family." She plays Miss. Lynch. Gibson, 25, played good-girl Sandy Dumbrowski in a London revival of "Grease!" that debuted two years ago, and taking on the role of tough- talking, leather-wearing Rizzo, leader of the Pink Ladies gang, is a bit bewildering. "I'm feeling a little schizophrenic," Gibson says during a telephone interview from Los Angeles. "In rehearsals, I'm looking at this character (Sandy) who I used to be." Confusion aside, Gibson says she likes the switch in roles. "I rehearsed 2 1/2 months, then (played Sandy during) a nine-month run. I'm a little Sandy-ed out. I wanted to do the show here, but there wouldn't have been any point doing something I had already done. That would have been a step backward." The singer-actor lives in New York but was in Los Angeles to shoot a video for her new album and to guest star on an episode of the ABC sitcom "Step By Step." As a teen sensation, Gibson had five self-penned singles hit the Top 10 between 1987 and '89, including two that reached No. 1: "Foolish Beat" and "Lost in Your Eyes." By 1991, Gibson was an ex-teen ex-pop star. So she went back to her theater roots, taking on the tole of Eponine for a short run in the Broadway musical "Les Miserables." The Long Island native acted in numerous New York area productions from ages 5 to 15. She started in community theater, then went pro. Gibson earned her Equity union card at age 12 while appearing on stage in "A Christmas Carol" in New York. Her stage credits include such Broadway standards as "The Sound of Music," "Annie Get Your Gun" and "South Pacific." "So I wasn't a stranger to theater," Gibson says of her revived acting career. "It's not like I was plucked out of nowhere." She has continued to record--she released the album "Think With Your Heart" this summer--but her greatest success in the '90s has been playing Sandy in London. Gibson originated the role in the critically acclaimed revamp of "Grease." The play was reworked to include some of the songs that had been written especially for the movie. The production is still running, but Gibson left the show at the end of her nine-month contract. The American tour features the original Broadway version of "Grease!" The show was choreographed by stage legend Tommy Tune. Gibson says the has "definitely finished phase one and is on to phase two" of her career. But she's still serious about her recording career. "I haven't lost any enthusiasm for what I do," she says. "I'm very much in control of my own destiny. I always wrote (songs) for myself, so I had no fear of, "Oh, my God! What if somebody doesn't send me a hit song?" To support her new album, which is on the SBK/EMI label, Gibson did a tour of 35 Border's Books and Music stores, signing autographs and performing mini-concerts. "I did a half-hour acoustic show," she says. "We had about 500 people (in attendance) everywhere we went. It was a fun way to perform new material." Gibson says ideally she would like to go back and forth between plays and concert tours--with some TV and film work in between. The entertainer says she understands the skepticism that attends the post- fame careers of young stars. It's gratifying to win the skeptics over, she says. "Several (theater) reviewers admitted they came to pan me but couldn't," Gibson says. "That's such a great feeling. I didn't get into this business by accident. I've always worked very hard, and I'm a professional." I thought this article would be of interest to fans who my have future plans to attend the show. For me, this was my first true Broadway play and I really enjoyed the show. I also enjoy meeting other Deborah Gibson fans from coast to coast and beyond. If you would like to chat about Deborah Gibson or just become good pen pals I welcome you to either send me e-mail or write to my snail mail address at: Robert Evans 4025 East Morris Blvd Morristown, TN 37813 Robert, who really loves the talent of Deborah Gibson. "Thank You, Deborah, for a wonderful weekend of entertainment in Knoxville, TN." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= "DIDN'T HAVE THE HEART" SINGLE REVIEW =- Raymond Wong - Hayward, California (negativl@netcom.com) November 10, 1995 The November 11th issue of BILLBOARD features a positive review of the new Debbie Gibson single, "Didn't Have The Heart." The single is the only AC release being reviewed. Larry Flick is the reviewer for most, if not all, singles releases in BILLBOARD. * = Critic's Choice star marker * DEBBIE GIBSON Didn't Have The Heart (4:00) Producer: Deborah Gibson Writer: D. Gibson Publisher: EMI-April/Possibilities, ASCAP SBK/EMI 10432 (c/o Cema) (cassette single) It is such a shame that more folks have not embraced Gibson's mature and utter- ly satisfying SBK debut, "Think With Your Heart." Radio programmers and consumers get another chance with this lushly arranged pop ballad, on which Gib- son performs with theatrical finesse in front of a 40-piece orchestra. Give it a fair shake. Okay, I know, most Billboard reviews are positive, since they are in the business of selling records, and I know that there are always at least a few "critic's choice" stars given out, but it still seems a bit unusual for Flick to actually comment that he thinks more people should be buying a record, and even go so far as to tell people to give her a chance. The lone exceptions I can think of are also for Debbie Gibson songs, though: * From the 26 April 1991 review of "One Hand, One Heart," which also received a critic's choice pick, there was the advice, "Top 40 radio should give her another chance." (as reported in BtL 3.5) * From the 10 April 1993 review of "Shock Your Mama," which, again, also received a critic's choice pick, the closing remark was, "Programmers should drop preconceived notions and give this a fair shake." (as reported in BtL 5.8) So, where does this leave us? It seems to me, that Larry Flick is willing to give Deb more than the usual lip service in his reviews, but ultimately, he's still one reviewer. It's a nice gesture, and I'm glad he's not just doing the usual "buy them all" type of review. This obviously isn't a guarantee that the song will do any better, but it does help. It's also worth noting that the AC format radio stations don't quite do things in the same manner as "Top 40" or "Hit" radio formats, so this review could be more influential there, or less. What may be more important, however is to remember that blasting up the charts isn't the primary goal of this single. Deborah has said that the important thing is to get the music to the people for whom it will matter. Radio charts may represent a significant amount of exposure, but that audience isn't always interested in the specific works being played on radio. The more telling of the advice given may be the inclusion of the reference to "consumers," when this single is not really being considered as a retail product. The primary goal of this single is as it relates to increasing album sales. (The listing of a catalog number for a cassette single is normal, even when there are not any existing plans for a retail single.) As I recall, the first SoundScan numbers (just over 12,000 units) for _Think With Your Heart_ showed up in September, roughly 2 months after release, and the second number of 23,855 was as of October 25. Something did seem interesting about that, and I think it's the fact that those numbers indicate that TWYH is still selling just under 2000 units per week. While that isn't stunning, it seems that sales haven't dropped off, either. TWYH seems to be hanging on, which I can't say is true for a lot of albums out there. I think my point is simply that Deborah really does have a winner of an album here. There was no way she was going to get chartbusting sales out of the gate, but she's selling a respectable number. She's not just getting normal lip service, but there seems to be an honest appreciation for her by at least some people. Sales aren't as high as we'd like, but the fact that they're holding steady means that word of mouth is probably keeping units moving. In that respect, things seem to be going fairly well. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= A NIGHT AT THE "STEP BY STEP" FILMING =- David W. Lemons - Diamond Bar, California (dwaynel8@aol.com) October 30, 1995 It was toward the beginning of October when Deb announced herself, over the D.G.I.F. hotline, that she would be filming a episode of the ABC sitcom "Step By Step." On the hotline she said something to the effect that she would be going out the next week to L.A. to start filming. For all of us in the Southern California area, we couldn't wait. Some of us started to call around to see where this sitcom was filmed at and how to get tickets. Others should note that we out here didn't really have the help of D.G.I.F. or the hotline to find out an exact date or where it was going to be (unlike "Mike & Maty"). After some of us such as Myra Wong, Kazuto Okayasu, and myself started to call around we found out that SBS films on Fridays at the Warner Bros. lot in Burbank. We were informed that tickets were free and were available to be picked up at Fox Television in Hollywood. The following Friday after Deb's message on the hotline, was October 6th. Kazuto, Bruce Roubitchek, and myself all went to Hollywood to pick up some tickets as quick as possible. To make a long story short we all got tickets to the wrong date. When I returned home I checked my e-mail and Myra had forwarded me a message sent by Karen at D.G.I.F. that said Deb wasn't going to be out here until Monday, October 16th for rehearsals--which told us that the show wasn't going to be filmed until that Friday the 20th. All who got tickets went through a day of moaning and then waited one week until the 11th and planned on getting tickets for the following Friday's taping. Bruce and I met at Fox TV in Hollywood on that Wednesday (the 11th) and picked up tickets. We picked up extra tickets just in case others needed some. Bruce snagged 8 and I got 6. After we got back to our respective homes we wanted to see who exactly was coming. It was very fortunate for us that the only people who knew about this Deb appearance were on the Net. The next week and half was spent getting in touch with others on the Net, and in Southern California, to start handling the ticket situation. I allocated my tickets to Robyn Reed (from L.A.), and Lisa Burrell, Craig Bernstein, and Brandon Fox (all from Santa Barbara). We all kept in touch through e-mail to make sure everything was going according to plan. And it was. We had a rough estimate of about 13 people going. After all of us venting frustrations about being uninformed about other Deb appearances while in L.A. like "The Stephanie Miller Show," the day finally arrived. The filming was to begin at 6:00 P.M. and we were told to start the line-up at 4:45 P.M. Well like any other Deb fan I was so anxious I got there about 1 hour and 15 minutes before the scheduled line-up. I was the first one who arrived and was then met by Robyn Reed, and Bruce Roubitchek. After that I don't know who came in what order but by 4:20 there was about 15 Deb fans there and it would stay at that number all night. We all waited in line in front of the parking structure and waited for the shuttle to take us to the sound stage. While waiting we all introduced ourselves and shared all the stuff we brought of Deb. Finally we were told to board the shuttle so we followed some dude who looked like he knew what he was doing and jumped on the shuttle. We arrived at the sound stage and were seated into the audience. All of us weren't able to sit together so we kind of got spread out. Five of us (Kaz, Bruce, Lisa, Robyn, and I) were lucky enough to be in the front row. Oddly enough right next to Deb's family's reserved seats. All of us were constantly looking around to see if we could spot Deb but to no-avail. We did see her mother several times but not Deb herself. Denise (Deb's sister) and some of her friends walked in and sat down as the filming was about to start. We had to sit through a couple of scenes with the regular cast before we got to see Deb. It didn't help that a pack of wild teenage girls (hormones raging) were screaming at the top of their lungs every time "Cody" or "J.T." said something or waved. We finally saw Deb and knew her first scene was about to begin. Just in case this issue comes out before the show is aired I will keep from telling about what actually was taped and the storyline. But for some kind of idea, Deb played a rock star named "Christi Rose" and was in town, while "Cody" was going to be a rode for her. After filming several scenes with Deb, the crew was having a problem with one of the special effects that involved a rope. (You all will see what I'm talking about once the show is aired.) It was obvious that this wasn't going to be solved in the near future, and the audience was getting restless. So while the crew worked on the problem Deb came up into the audience and decided to entertain us (which was going to be the start of something I won't soon forget). She asked the audience if we knew her song "Only In My Dreams." Of course all of us there from the fan club responded with a booming cheer and some whistles. Everyone else kind of just clapped. She was about five feet from me when she asked for the audience's help to keep the beat to the song. After which I said to her, "Just like the House of Blues...", she turned and looked right at me and smiled. Well we all started clapping and Deb started to do her thing. She got through the first verse and started to really come out during the chorus. After she completed the chorus she wanted the audience to get into it and asked us to do the chorus one more time. Well I guess others there, besides us, kind of new the song because everyone really got into it. After the second go-around of the chorus she started heading over toward Robyn and I. She bent over in front of me and started to sing the second verse right to my face, I was just awestruck since she was only inches from my face. After a few words she turned around and I thought she was going to walk away, but to my surprise she just plopped right down on my lap and continued with the second verse. She put her arm around me and all I could do was smile, and put my arm around her too. Afterwards Robyn Reed told me I looked like I was in some other kind of dimension, and I don't doubt it because that's what it felt like. Deb gave me one last squeeze as she finished the second verse and then got up and really got us going on the chorus. All through the rest of the song I was just beaming. After she finished OIMD we all gave her a big applause, and of course it was the loudest in the areas where all of us were. She then turned and noticed that the crew still hadn't remedied their problem, in fact 90% of them were glued to Deb and her singing. She then asked us what else she could sing and all of us in the fan club yelled out our personal favorites. But what got her attention was a young girl in the back row who yelled, "Do something from Les Miz!" And immediately she started "On My Own" softly. She got halfway though the song and then heard the stage buzzer alerting her that they were ready to continue filming. So she stopped and said, "Awww, time to go back" as the audience let out a big sigh of sorrow. She probably could have finished the song, since when she got back on to the set it took them about another 10 minutes to actually start filming. For the rest of the filming, Deb was walking around the set occasionally coming right by us five in the front row to say "hi" to her family and friends. Throughout the rest of the taping Deb had about three more scenes. (And they filmed all the scenes twice, "Double-the-Deb!") And since she was playing a rock star we got to hear "Dontcha Want Me Now?" several times over the sound system. The whole taping took about four hours long. Although unlike "The Mike & Maty Show" it was actually quite bearable. Debbie's scenes were spread out over the whole night, unlike M&M where we saw her the first 30 minutes and were held captive the rest of the three hours with no Deb! And to go along with it, the cast and the filming itself was rather fun. We actually got to hear Suzanne Sommers use a profanity, as she messed up a line trying to sing a Beach Boys tune. Which Kaz and I agreed was the best "non-Deb" moment of the night. As 10:00 rolled around Deb had her last scene and then the filming was done, except for a curtain call where they introduced all the cast members again, and finally their guest star Deb, who got an extra loud encore from all of us fans that were there. After the rest of the audience had left, all 15 of us hung around up in the seats and waited for Deb. Once she was done saying bye to the cast and taking pictures with all the crew she started to walk out. Diane then pointed to us and Deb responded with an "Ooh" sounding kind of surprised that we were there. She came up into the seats and started to talk to us and sign some items for us. She was very surprised that she had this big of a turn out at an event that wasn't even publicized (like "Mike & Maty" was). Since there was only 15 of us there we got to spend a lot of time just talking to her and see how she was doing. Some people brought cameras and we all got a group picture with Deb (which Diane was nice enough to take, THANKS DIANE!) along with some individual pictures for others. Myra gave her a copy of BtL 7.16 and she was very happy to receive it. Deb said it would give her something to read on the plane. After she was done we all said good bye and walked with her out to the parking lot. We were being rushed by the Warner Bros. people to get onto to the last shuttle because it had been waiting for us. After we were all dropped off at the parking garage, we decided to go out and get something to eat. So all of us that could went to Denny's and we sat for about an hour and talked about stuff. We were all amazed at how well the whole evening went. It was a lot better than any of our expectations. And especially mine. After a quick meal we all said good-bye, and reminded everyone to stay in touch. I believe this was one night we will all remember. I certainly know I will!! P.S. - To Debbie: I, along with everyone else who was there, wanted to thank you for a great time that night at "Step By Step." We know you probably weren't expecting a lot of us there since it wasn't a well advertised public appearance. But you were still your normal nice, generous and charming self. We would like to especially thank you for coming up and visiting with us afterwards although you had a long night and I'm sure were very tired. I would like to personally thank you for giving me a thrill of a lifetime by singing to me personally, it was one of the greatest moments of my life. Thank you for all the positive feelings you keep bringing to me and the rest of your fans. You truly make my life a brighter and definitely more enjoyable. Thanks again. I will always be your biggest fan. Hope to see you in January while you are out here doing Grease and get a chance to talk again. Thank you from the bottom of all of you fans hearts. We love you!! Thanks again! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -= CLOSING REMARKS =- According to TV Guide, Debbie Gibson guest stars on an episode of the ABC sitcom "Step By Step" airing Friday, November 17, 1995 at 9:00 P.M. EST/PST. The radio release date of "Didn't Have The Heart," the second single from _Think With Your Heart_ was postponed a week to November 6th. Please request the song from your local Adult Contemporary radio stations. Debbie Gibson continues in the U.S. Touring Production of "Grease" in the lead role of "Rizzo." The following is a list of remaining show dates as announced by D.G.I.F. and individual theatres. Please note confirmation of the Davenport, Iowa shows and the cancellation of the January 7th performance in Chicago. All dates are subject to change. Call individual theatres for tickets and more information. Nov 14 - Nov 19 Wilmington, Delaware Playhouse Theatre Nov 21 - Nov 26 St. Louis, Missouri Fox Theatre Nov 28 - Nov 30 Huntsville, Alabama Von Braun Civic Center Dec 1 - Dec 3 Birmingham, Alabama Birmingham Civic Center Dec 5 - Dec 7 Davenport, Iowa The Adler Theatre Dec 8 - Dec 10 South Bend, Indiana Morris Civic Auditorium Dec 12 - Jan 7 Chicago, Illinois Shubert Theatre Jan 9 - Jan 14 Vancouver, B.C. Queen Elizabeth Theatre Jan 16 - Jan 21 Portland, Oregon Portland Civic Auditorium Jan 23 - Jan 28 Cerritos, California Cerritos Center Jan 30 - Feb 4 Palm Desert, California McCallum Theatre Feb 6 - Feb 11 San Diego, California Copley Symphony Hall Feb 13 - Feb 18 Tempe, Arizona Gammage Auditorium Feb 20 - Feb 25 San Antonio, Texas Majestic Theatre Feb 27 - Feb 29 TO BE ANNOUNCED Mar 1 - Mar 3 Minneapolis, Minnesota Orpheum Theatre Thanks go out to Rob Polinsky and Tara Young for giving the last issue (7.17) to Debbie Gibson in person after one of the Erie, Pennsylvania performances of Grease, despite a hurried meet with the fans. BtL 7.19 will be released later this month. This year's best articles contest is still being held until the end of the year. At that time, all the articles from the entire year will be judged in different categories by the BtL moderators. Thanks to everyone who has submitted articles so far this year!