Now that the '80s teen pop scene is but a distant memory that crops up every now and then on weekend radio dance parties, it's time to bring those popsters back. Whatever happened to those junior-high icons who had the power to take over the airwaves with infectious pop melodies? Well, last we heard of Tiffany, she was juggling her Vegas lounge act with a husband and a baby, and the New Kids on the Block ... well, they must've moved to a different block where no one seems to care.

Then there was that other "Pop Princess" -- the one who actually wrote all her own songs and hailed from semi-normalcy in suburban Long Island. Debbie Gibson was riding high on her debut album "Out of the Blue" and its follow-up, "Electric Youth." She had all of teen-America wrapped around her ever-present black hat. But then Gibson seemed to vanish from the limelight with the release of her third album, "Anything is Possible."

But as her teen fans were growing up and moving away from bubblegum pop, Deborah Gibson (as she is now known) was also maturing, even though few took notice. Now 26, and with ten years in the music business under her belt, Gibson has not slowed down one bit. Between releasing albums, Gibson has appeared on Broadway and the West End -- most recently starring in the pre-Broadway revival of "Funny Girl" (which closed after less than two months due to what Gibson terms "a lot of political garbage," although it may reopen next fall).

Not one to sit in her bedroom crying, Gibson has just released her sixth album, "Deborah," which is highlighted by a surprisingly versatile style, slick production and her much stronger, more mature voice. Citing disgust with how she tends to get "lost in the shuffle" with major record labels, Gibson is releasing this album on her own independent, family-run label, Espiritu Records. As the former "Teen Queen" goes indie, maybe the new Deborah Gibson can pick up where the successes of the old Debbie Gibson left off.

RS.com: What is the overall vibe of your latest album?

Deborah Gibson: This album is a little more versatile. But it still somehow all fits together. I'd say the biggest difference is that it was done really quickly and the only other album I ever did that was done really quickly was my first album. So, in a lot of ways, it has that peppy energy of a debut album. When I listen to it, that's one of the things that hits me. I think it's a spontaneous album, and it's got a lot of raw energy.

You did some co-writing and co-producing on this album, although you normally work solo -- why did you decide to collaborate this time around?

It was a pleasure to put that stuff on the album, because it wasn't somebody forcing me to co-write -- saying, "Ooh, we need to plot and plan your next move, so why don't you co-write with Babyface or Prince." I've heard all those suggestions before, and I took them almost as insults just because I felt like, "All right, you guys are much more concerned with me having a hit then creatively sticking to my guns."

What does this album say about where you are personally and professionally?

I just think it's the next step. I think that it says I'm still sticking to the concept that trends come around. This isn't me saying, "Gee, alternative's happening at this moment, so let me do that just to have a hit." I think it's a statement about my integrity and my belief in real music.

What real music are you listening to now?

I listen to bizarre things at bizarre times. Like I just got the first Counting Crows album. Now I listen to it religiously, and I jam out on the piano with it. In fact, on the road for "Funny Girl," people would pass by my dressing room and stick their heads in, like, "What's going on?" It sounded like a full-on jam session going on. And I just got sent this whole package of everything Liberace ever recorded. Rusted Root -- I do Afro-Brazilian dancing to Rusted Root. But I don't think that's leaving my living room.

What are your hopes for this album's success?

My hopes are that whoever is meant to hear it and whoever it's going to affect gets to hear it. Of course, you always hope that everyone in the whole world can hear it and form an unbiased opinion on it, but I don't know how realistic that is at this point.

Since you're a self-professed Smashing Pumpkins fan, what song of yours would you like to hear them cover?

I'd love to hear the Smashing Pumpkins singing ... oh, this is just endless ... I mean, the obvious would probably be "Electric Youth." I'd love to hear them do a thrashy, high-energy version of "Electric Youth." They're quite young, aren't they?

Why did you finally decide to change your name to Deborah?

When I called myself Debbie initially, it was because everyone else was uncomfortable calling me Deborah. So I went, "Well, let me make everyone feel comfortable." But I didn't feel comfortable because anyone who's ever known me has always called me Deborah. It's kind of where I feel I've reached my limit and I want to say, 'You know what? My name is Deborah." I just feel it's more representative of what I'm doing now, and the whole thing that goes along with getting older, being more comfortable with yourself.

What's the funniest thing anyone's ever said about you?

Hmm ... I can think of a lot of harsh things. You know what had to be the funniest thing? The Beavis and Butt-Head thing. They were talking about who would win in a fight -- me or Tiffany. They said I'd kick her butt. I thought it was very funny.

What was different about recording "Deborah" on your own independent label as opposed to doing your previous major label recordings?

Recording this album is, in a lot of ways, like recording my very first album because I don't have anybody looking over my shoulder. I think that's the way music is supposed to be made. For better or worse, you should just do what you're doing. It was great because I got to be really spontaneous with it, and the album kind of made itself. When I was most successful with my records was when nobody was looking over my shoulder. I mean, I brought my first two albums to Atlantic [Records] fully done. They had nothing to say about what I did, who I worked with, how I worked. I remember walking into Atlantic with a bag full of tapes with each final mix on a different tape and dumping the bag on the table and saying, "Here's my album."

How do you feel about Alanis Morissette's persona in her early years constantly being referred to as the Canadian Debbie Gibson?

I guess that initially she was, in the sense that she did dance/pop music and she had cheesy big hair, which I had for about eight months, and the fact that she did "You Can't Do That on Television," which is something I definitely would've done. It's right up my alley. But at this point, we are so different, oh my god. She's amazing at what she does, but we're night and day. I've held on to my traditional performer roots, and she's definitely abandoned them for doing her thing. Actually, I had gone to see her concert, and she had a couple of crew people back there who were on power trips and were very obnoxious to me. So I left before I met her. That disappointed me about Alanis, and whether or not she was aware that they were rude, my philosophy is always who you surround yourself with is kind of what you represent. So that was a strike against Alanis for me.

What should people think when the hear the name Deborah Gibson now?

What they do think and what they should think are definitely two very different things. I would think that they should think good songwriter and strong live performer. People should also think human being. I'm a 26-year-old young woman who's actually had a lot of very unique experiences in my life. I actually have a lot to say to people who want to listen. But unfortunately, the media and pop culture creates very one-dimensional pictures of people.

What goes through your head now when you hear your early albums like "Out of the Blue" and "Electric Youth"?

I think that I sound like I'm on helium. It takes me back to that time. It takes me back to seeing girls with their jeans ripped, with faces on the knees, and the black hats and living in Merrick. It's funny though, in no way will I ever be as