Barbra Streisand: The Legacy Collection Exhibit Notes...take a virtual tour. Exhibition Program (This is a text walk through of the display) For photos sclick here Produced & Program Compiled by Lou Papalas, President, C.A.S.A. de louis, Inc. This exhibit was created from the personal collection of Lou Papalas and enhanced by donors from The Barbra Streisand Legacy Collection Association. I would like to convey a special “Thank You” to these generous donors: Devin Bliss, Deborah Burke, AntiqueDress.com Marsha Tysseling, Star Wares Collectibles Jerilyn Brown, Star Wares Collectibles Matthew McCaffery, barbralover.com Charles Moniz, Baby Jane Collectibles Donald Softness, The Softness Group David Salyer Mary Haag Joan Haag Jeffrey Laymon Pamela Jean Miller My “Very Special Thank You" to Pamela Jean Miller, who committed weeks of labor and love to assist with this Exhibit… Also a “Big Thanks” to… Kevin Smith - for his editing skills… Woolsey Ackerman - for his couture content… Laurie Hurst – for her music and movie chronology and…Devin Bliss…for his invaluable research expertise. “My appreciation for your ongoing efforts, friendship and support shall never diminish or wane. You are the best!” ……...Lou ---------------------------------------------------------------------------------------------------------------------------------------------------- Biographical Exhibit Highlights Funny Girl to Meet the Fockers Barbra Streisand’s first movie Funny Girl in which she boldly and dramatically sang, “I’m the Greatest Star,” is the focus of this display. In 1969, Barbra won an Academy Award for Best Actress for her performance as Fanny Brice in this acclaimed musical blockbuster, Funny Girl, her first film. (She tied with Katherine Hepburn.) When Barbra received her award, and as she accepted the Oscar, she wittingly remarked in perfect Brooklyneese, “Hello Gorgeous!” Her comment is remembered today, as is the Scaasi-designed, scandalously sheer, over blouse and pants outfit she wore. Scaasi took possession of that outfit once again after winning it on the internet auction site, Ebay, in 2004. Barbra starred in the Broadway production of Funny Girl in 1964 prior to making the film. Although she did not receive a Tony Award for either her performance as Miss Marmelstein in I Can Get It for You Wholesale, or for her starring role as Fanny Brice in the Broadway production of Funny Girl, she was awarded a special Tony in 1969 as “Star of the Decade.” Her Miss Marmelstein performance did win her the New York Drama Critics’ designation as “Best Supporting Role in a Musical.” This was Barbra’s first award of any kind! The top half of an original Funny Girl Broadway banner and international Funny Girl movie posters are featured in this exhibit. In the octagonal case detailing Barbra’s youth and early career later in the exhibit, you can read her notorious and boldly- fabricated biography and see her photo and program from I Can Get it For You Wholesale. Be sure to examine the amazing reviews from her performances. Barbra is pictured with Fanny Brice’s daughter, Frances Stark, in the framed photo adjacent to the yellow roses on top of this case. Mrs. Stark is also the wife of Funny Girl producer Ray Stark. A one-of-a-kind pregnant bride doll that is inspired by the film’s comedic “His Love Makes Me Beautiful” musical number is featured in this display, as well as some behind-the-scenes and rehearsal photos from the movie production of Funny Girl. The doll, with an image slightly similar to Barbra’s, was created by a Hollywood make-up artist. Although the doll’s face does not truly capture Barbra’s unique beauty, the detail of the gown is impeccable. (Note: the blue marble egg is similar to the one featured in the film, Funny Girl set, but is not an authentic item. It is used solely for display enhancement purposes only. Also note that the swan feather headdress, although native to the film, was worn in the “Swan Lake” sequence by one of the supporting cast members, not Barbra herself.) Notice an original Funny Girl printer’s plate used for theatre advertisements and press books. A similar white printer’s plate utilized for the film Hello Dolly is also presented in the “The Movies and the Music” section of the exhibit. Observe the reverse images on both. Programs from both the movie and Broadway performances of Funny Girl are on display, as well as magazines from around the globe, heralding Barbra’s acclaimed performances. Barbra, who describes her career and herself as "a work in progress” and who, nearly forty years ago, when starring in Funny Girl, told the world, “I’m the Greatest Star,” periodically reminds us that she is still going strong as she did when she sang to the world, “I’m Still Here” during her 1994 concert, and then proved it to us once again in 2005 when she played Roz Focker in the record breaking comedy, Meet the Fockers. The Contracts Barbra’s eight night club contracts, some of which are the earliest of her career as a performance artist, are being premiered at this Hollywood Museum exhibit. Until now they have been secured in the office of her first manager, Ted Rozar. They were discovered in 2005 when Guernsey’s Auction house in New York City was preparing for an auction for the great jazz musicians of the 20th century. Ted Rozar also represented Louie Armstrong. These contracts are a rare find and are being exhibited for the first time EVER here at the Hollywood Museum! The contracts reflect Barbra’s immediate success as a club headliner. Note the rapid salary growth, performance conditions, and guarantees included in the contracts from her 1961 and 1962 performances! Barbra’s contract with The William Morris Agency is also included in the contract display. It was anonymously donated to this exhibit. This is Barbra’s first important contract with a major talent agency, and was signed during the run of her first Broadway show, I Can Get It for You Wholesale in 1962. Because Barbra was under 21, it was also executed by her mother, Diana Kind, who, although remarried, ironically signed her former widowed name, “Diana Streisand.” The Bon Soir ad was recreated for use in the Just for the Record album and video. The finished video was never released publicly, but an unedited and incomplete copy has found its way into the hands of many fans. Perhaps one day soon, a complete career DVD incorporating this tape, will be produced for all to enjoy! The two pictures of a very young Barbra were taken by Donald Softness, who was responsible for Barbra’s very first publicity. Barbra had keys to his studio when she was “sleeping around” Manhattan in the exciting and lean years of her career. These photographs have neither been exhibited before, nor published prior to this exhibit, as they have been in Mr. Softness’ possession until he loaned them to the Hollywood Museum. Mr. Softness also possesses one of only two copies of Barbra singing two demo songs with piano accompaniment only. That recording was used prior to preparing the very rare acetate demo for RCA records. Early Live Appearances & Television Specials Barbra Streisand made her first TV appearance on April 5, 1961 on The Jack Parr Show. She had flown in from her first non- New York City singing performance at the legendary Caucus Club in Detroit, Michigan. An interesting aside: A much smaller exhibit entitled "Barbra Streisand...a Tribute to a Legend” was produced at The Caucus Club on the occasion of Barbra's 60th birthday in 2002. A poster from that event is featured to the right in this display case. Lou Papalas, curator and producer of Barbra Streisand: The Legacy Collection here at the Hollywood Museum, also produced that exhibit. Barbra headlined, or was the only performer in nine (9) television musical specials throughout her career. 4-28-1965 My Name is Barbra 3-30-1966 Color Me Barbra 9-16-1968 A Happening in Central Park 10-11-1967 Belle of 14th Street 11-2-1973 Barbra Streisand and Other Musical Instruments 12-27-1986 One Voice 1-11-1986 Putting It Together: The Making of the Broadway Album 8-21-1994 The Concert 2-14-2001 Timeless Barbra guest starred on many musical variety shows in her early career including The Mike Douglas Show, The Dinah Shore Show, The Ed Sullivan Show, The Bob Hope Show, The Judy Garland Show and The Burt Bacharach Special. Streisand-Designed “Sailor” Tops from The Judy Garland Show, CBS - 1963 (Courtesy of Devin Bliss - Phoenix, AZ) Throughout Barbra’s early career, aside from liking to shop in thrift stores, Barbra loved to design clothing. The “sailor” top greatly influenced her early creations. She designed two almost identically-styled blouses (both in this exhibit) for her 1963 bookings and appearance on The Judy Garland Show. The first of the two (to the left), is the Navy Sailor Top, in navy satin with cream satin piping & bow, featuring full-length sleeves, three rows of piping at the cuffs & waist, and a band of piping around the wide neckline. The Burgundy Sailor Top (to the right), is identical in the alternate color, but incorporated an attached bib collar, which was removable. Barbra chose this top, sans the detachable collar, for her appearance on the The Judy Garland Show which aired on October 9, 1963. Barbra’s performance that night was both historic and legendary. Barbra later remarked that Judy was trembling when she held her hand during their duet together. That show has been likened to the passing of the torch from the greatest female performer to her successor. The show also featured a performance by the three “belters,” Barbra, Judy, and Ethel Merman. A photographic proof sheet of these three legends is highlighted at the bottom left of these case. In retrospect, the performance also was remarkably significant, as it marked Barbra’s last guest appearance on any television show until she obtained her own superstar status. Allegedly, Martin “Marty” Erlichman, her long time manager, informed Barbra that she could never top that guest performance. He advised that she do no more guest spots. Interestingly, Barbra and Marty have never had a written contractual arrangement, despite their longevity together. Marty so strongly believed in Barbra’s future when he first saw her at the Bon Soir in New York City that he asked to represent her using a pay phone booth as his office, and a roll of dimes as working capital. He has managed Barbra most of her career from that day forward. Marty is pictured in the Barbra’ s Favorite People Display. Also of major significance is that both Barbra and Judy were individually nominated for an Emmy as “Outstanding Performance in a Musical or Variety Program” on The Judy Garland Show. Barbra reportedly was relieved when the award was presented to Danny Kaye, as she felt it was inappropriate for her to have competed in the same category when she was merely a guest on Judy’s own show. Nonetheless, this was the most monumental pairing of the world’s greatest talents in the history of television – ever! Barbra also appeared on The Garry Moore Show, What’s My Line?, Geraldo Rivera, The Tonight Show with Johnny Carson, The Barbara Walters Specials, Larry King Live, Oprah, and most recently on The Actors Studio, to name only a few. Her appearance on Saturday Night Live as a walk-on in a Madonna/Roseanne skit, was recently declared number 22 in the Top 100 Greatest Surprises in Television History! Most of Barbra’s early performances are archived on tape, but her very first appearances on The Mike Douglas Show, when she guest hosted for a week, are presumably lost forever, as they were taped over. (If anyone reading these notes knows otherwise, or has access to these performances, please contact Lou Papalas at lpapalas@peoplepc.com or call him at 248- 225-3158.) Streisand-Designed “Sailor” Gown from My Name is Barbra, CBS - 1965 Shortly after her appearance on The Judy Garland Show, Barbra was signed for a series of specials with CBS, the first of which was titled, My Name is Barbra. It initially aired on April 28, 1965, four days after Barbra’s 23rd birthday! This was the first time in television history where an artist performed for an hour without a guest star, making it a risky, but highly successful production. Barbra won the Emmy for this, her very first special. The iconic My Name is Barbra Sailor Gown is featured in its own case in the center of this exhibit. Keeping with her thematic “sailor” concept, Barbra designed this blue wool and silk dress, featuring a blue wool shell and blue silk chiffon overlay, adorned with white linen cuffs and collar, trimmed with blue ribbon. Under the collar, a tied red bow is highlighted, streaming down the front of the gown. The larger world was introduced to Barbra while she was wearing this wonderful creation. Barbra commented, as she accepted the Emmy award for that program, that more people saw her on My Name is Barbra (and in this gown) than if she were to have continued to play Fanny Brice in Funny Girl daily for 58 years. Barbra’s second television special for CBS, often referred to as the “other bookend” to her black-and- white My Name Is Barbra a year earlier, was shot in color, a brand new medium for its day in 1966. It was appropriately titled, Color Me Barbra. Two costumes from Color Me Barbra are also included in this display. “Modigliani” Dress from Color Me Barbra, CBS - 1966 Designed by Fred Voelpel (Courtesy of Devin Bliss - Phoenix, AZ) This simple, full-length black wool gown, features a “crooked,” intentionally off-center, silk collar which snaps into the neck, and full-length sleeves that zip at the cuff. In this whimsical creation, Barbra emulated the Modigliani painting, “Portrait of a Polish Woman,” recreating the same dress as drawn by the artist, and in which she sang “Non C'est Rien.” Gold-Sequined Leotard/Jumpsuit from Color Me Barbra, CBS - 1966 Designed by Norman Norell (Courtesy of Charles Moniz - Los Angeles, CA) On the same television special, Barbra wore the pajama-style leotard/jumpsuit, with full feet, constructed of silk chiffon, completely covered with hand-sewn gold sequins, featuring a self-belt area at the waist also comprised of sequins, with full- length sleeves and zippers at the cuffs. The leotard/jumpsuit was also worn by Barbra solely as an outer garment in numerous advertising promotions, including the famed concert at the Newport Jazz Festival in Newport, Rhode Island in 1966. An interesting note about the couturier, Norell: Barbra had a fascination with his creations in her early years, as he was the first American designer to ever have his name on a dress label. Barbra’s short hairstyle and Cleopatra-styled makeup took the country by storm. The hairstyle Barbra sported during this period was radical for its time. Many women, and yes even a few men who wanted the “Streisand Look,” copied her unique appearance. Part of what makes Barbra’s fans love and respect her so much is that she has remained true to herself. She refused to alter her name to Barbra Sands as it was suggested, and she kept her unique looks when everyone else was trying to be traditionally “Sandra Dee” beautiful. Despite suggestions to do so, she never altered her nose. Barbra’s defining profile has become her trademark, so to speak, one which enhances her unique and distinct beauty. Her profile has been captured by many acclaimed photographers. In later years, much was written regarding Barbra’s insistence upon being photographed from the left. However, in some of the early photos, like many in this exhibit, Barbra is featured from either side. Paisley Jeweled Silk Gown from A Very Informal History of the American Musical Theatre, American Embassy, London - 1966 Designed by Bergdorf Goodman, New York City Also on display is the copper jewel-encrusted silk and chiffon gown designed especially for Barbra by New York’s Bergdorf Goodman. This is also where she shot segments of My Name is Barbra. She wore this translucent, sparkling gown at a benefit concert during the time in which she was performing in Funny Girl in London, on June 12, 1966. The concert, with an audience of merely 200 people, was produced at the American Embassy, and paid tribute to the 40 years’ evolution of the American musical. Barbra headlined the event, and shared the stage with American composer, Cy Coleman. She has likewise been photographed in this gown many times, including her appearance on the cover of Predictions magazine with Elliot Gould and Lesley Ann Warren. (Gould was her first husband, and father of her only son, Jason.) These photographs are adjacent to the gown in this exhibit. Barbra has also been photographed in the gown with Noel Coward. Barbra’s third television special titled, Belle of 14th Street, although considered innovative, was a stretch from her former two ventures, as it was the first time she integrated guest performers. Some critics surmised that the reason the special did not receive much acclaim was due to that reason alone. The only interesting segments involved Barbra’s solo endeavors. The theme of the hour was the recreation of an authentic vaudeville entertainment presentation of the early 1900’s – perhaps a “hard sell” for mid-1960’s audiences. Victorian-Style Black Velvet Costume & Feather-Plumed Hat from Belle of 14th Street, CBS - 1967 Designed by Don Loper for Brooks-Van Horn, New York/Philadelphia (Courtesy of Deborah Burke, AntiqueDress.com – Stamford, CT) This black, silk-lined velvet turn-of-the-century-style gown is full length, sleeveless, and features a train and black satin ribbon “spaghetti”-style shoulder straps. It is heavily boned at the waist for that “hour glass figure” appearance of the period, and is adorned with black satin ribbon trim at both the top of the bodice and bottom of the skirt. A matching huge black velvet picture hat with cream-colored feathers completes the ensemble. It has been documented that Barbra also wore this costume, prior to its use in the television special, to one of the Broadway Funny Girl cast parties. Three-Piece Velvet Knickers Outfit from Belle of 14th Street, CBS – 1967 Designed by Brooks-Van Horn, New York/Philadelphia (Courtesy of Devin Bliss - Phoenix, AZ) This adorable ensemble features a green velvet jacket, with matching knickers and Gatsby cap, decorated with black braid. Barbra wore this playing a boy soprano singing, “Mother Machree.” She appears as the young male character several times throughout the television special wearing this outfit. Multi-Colored Victorian-Style Jacket from Belle of 14th Street, CBS – 1967 Designed by Oppenheim, Collins and Company (Courtesy of David Salyer - Los Angeles, CA) A recent addition to this exhibit is the multi-colored silk peacock-print, kimono/turn-of-the-century-style cape/jacket which Barbra also wore on her third television special. Ironically, the patterns and vibrant hues of the cloak are reminiscent of the psychedelic genre of the ‘60’s, but actually are demonstrative of the Victorian motif of the period. Barbra’s fourth television special was a taped live performance at Sheep Meadow at Central Park in New York City. The event was free of charge, and was a pivotal milestone in the entertainment industry. It marked the largest number of people ever assembled to witness the performance of a single entertainer in history – 135,000 of the “luckiest people in the world.” Billowing Chiffon Cape from A Happening in Central Park, CBS – 1967 Designed by Irene Sharaff (Courtesy of Jeffrey Laymon - Ft. Lauderdale, FL) Comprised of two layers of pleated, voluminous pink chiffon panels, Barbra wore this full length cape as she wowed the spectators at her New York “happening.” The magnificent cloak was so flowing in Manhattan’s summer air, it was said that she was visible from the stage at any point of view by all in attendance in nearly every position in Central Park. That evening, June 17, 1967, marked Barbra’s last solo concert performance, until the M.G.M. Grand Las Vegas Concert in 1993, as she developed a case of crippling stage fright. This was reportedly due to a death threat merely hours prior to that 1967 performance. She was so frightened during the Central Park event, that she subsequently forgot lyrics to some of her songs. This was an experience she was unable to handle lightly or humorously. In 1993, having teleprompter technology available “just in case” was one of the ingredients that contributed to Barbra’s highly publicized return to the concert scene nearly 27 years later. Barbra’s fifth television special, Barbra Streisand and Other Musical Instruments, was shot in London, and revisited the format of Barbra’s first two television specials featuring Barbra as the sole artist, albeit the addition of a duet with Ray Charles, and a vignette with a nine year-old classical pianist. An interesting aside: most of the costumes and gowns were either designed by Barbra, pulled off department store racks, or we acquired from thrift stores. Mid-Eastern Gypsy Costume from Barbra Streisand and Other Musical Instruments, CBS – 1973 Designer Unknown (Courtesy of Jeffrey Laymon - Ft. Lauderdale, FL) This red rayon, full-length gypsy-style dress is gathered at the waist and features a pleated skirt and spaghetti straps. It is highlighted with dozens of brass medallions and gold chains and matching medallion sash, and was worn during a segment with Barbra singing, “I Got Rhythm” in a variety of international costumes. This display case also features several of the many awards and benefits recognizing Barbra throughout her nearly five decade career. The Tiffany-style lamp on the table was actually the centerpiece at the American Film Institute Award ceremonies which honored Barbra in 2001 when it presented her with its Lifetime Achievement Award. A copy of the tribute is included on the last page of these notes. The cue card from the 2000 Golden Globe Awards, in which Barbra was honored by being presented the Cecil B. DeMille Award for Lifetime Achievement, is also displayed. She was awarded this prestigious honor for being a “singer, actress, film director, producer, writer, and composer whose popularity has endured and grown for nearly four decades.” This very card was personally given to Barbra’s husband, James Brolin, by a public relations executive, and is now here for your enjoyment. Also note the extremely rare television/radio/concert performance posters featured in this case. An assortment of television guides featuring Barbra’s image on their covers also capture the thrill, fervor and anticipation of her specials. The Commercialization of a Legend: A Tribute to Barbra’s Talent and the Price of Fame This small case features items made by fans, international art pieces, (note the beautiful Russian stackable dolls and unique ceramic tiles from England), memorabilia, as well as fan club magazines and fan events. Barbra’s image has even been exploitatively used on items which have neither included any of her work, nor any connection to her at all. Note the Tina Charles record featured in this display. However, her image is used with her permission on the Celebrity Cellars commemorative wine bottle. The Movies and the Music Ten different costumes are featured from six of Barbra’s films including: A Star is Born, The Mirror Has Two Faces, Yentl, For Pete’s Sake, The Way We Were, and On A Clear Day You Can See Forever. Streisand-Designed Art Deco Metallic Gown & Cape from A Star is Born, Warner Bros./First Artists – 1976 (Courtesy of Devin Bliss - Phoenix, AZ) This breathtaking, 1920’s-inspired, full-length silver and black metal-mesh gown is a custom-made creation by Barbra Streisand, and was designed from several antique shawls. It features a geometric design, “spaghetti” straps, a skirt in two layers, with a sewn-in undergarment lined in velvet at the décolletage, and a bodice lined in nude silk, with a short-sleeved matching cape. This stunning ensemble was worn in the film for the scene in which Barbra, as Esther Hoffman, wins the Grammy award. The movie’s credits list all costumes as “from Barbra Streisand’s closet.” It was reported that this dazzling creation was also the only costume in movie history that also served as a “red carpet” gown. Barbra wore it to present the 1977 Grammy Award “Album of the Year” to George Benson for “Breezin’.” Skirt & Sweater Ensemble from The Mirror Has Two Faces, Columbia – 1997 Designed by Donna Karen, Banana Republic & Ralph Lauren (Courtesy of Marcia Tysseling & Jerilyn Brown, Star Wares Collectibles- Agoura Hills, CA) This lovely costume includes a chocolate brown and taupe heavy-knit cardigan & side-pocketed brown skirt (Karan), a ribbed merino wool turtleneck (Banana Republic), as well as a pair of chocolate stretch tights (Lauren). The film, Barbra’s third directorial effort, was nominated for __ Academy Awards, including Barbra’s second for writing an original composition for a motion picture (with Bryan Adams), “I Finally Found Someone.” Silver-Blue Satin Dressing Gown from Yentl, MGM/UA – 1983 Designed by Judy Moorcraft (Courtesy of Pamela Jean Miller - Phoenix, AZ, ) The two-time Academy Award nominee, Judy Moorcraft, created this full length, long-sleeved blue satin dressing gown and sash featuring a striped pattern throughout, with wide lapels and cuffs, and blue cord trimming. It is fully lined in a matching synthetic blend. Designed for what many consider the most pivotal scene between Barbra and actress Amy Irving, as “husband” and wife, this 19th century-styled robe is indicative of the period, and is captured on film in Barbra’s first directorial effort, for which she won the Golden Globe as Best Director of a Motion Picture for 1983. The scene in question is historical in and of itself, inasmuch as it captured Barbra’s first and only on-screen kiss with a woman! Streisand-Designed Terry-Cloth House Dress Robe from For Pete’s Sake, Columbia – 1974 (Courtesy of Marcia Tysseling & Jerilyn Brown, Star Wares Collectibles- Agoura Hills, CA) This custom-two tone, salmon-colored, floor length terry-cloth robe/house dress features short cap sleeves, two front pockets, and full button closure at the front. Though attributed to Frank L. Thompson, the piece was actually designed by Barbra herself. A side note: this zany, comedic film was also executive-produced by Barbra’s longtime manager, Martin Erlichman. Trench Coat from The Way We Were, Columbia – 1973 Designed by Dorothy Jeakins & Moss Mabry - Academy Award Nomination - Best Costume Design for 1973 - (Courtesy of Joan Haag, Rochester, NY ) The plaid-patterned 1940’s-style tan/brown & burnt orange wool coat designed by three-time Academy Award winner Dorothy Jeakins and Moss Mabry, is fully-lined, features a pleated bodice, as well as a large button at the collar, and leather sash. Although scenes of Barbra wearing this coat were deleted from the final film cut, photographs of her in it were extensively used in the promotion of the film, one of which is displayed here. Interestingly, another photo of Barbra adorning this coat is also included among the myriad of photographs displayed in the booklet which accompanies the current five DVD release of Barbra Streisand: The Television Years. Unbeknown to most people, Barbra also accepted her Academy Award nomination for Best Actress of 1973 while wearing this exact coat. Dress from The Way We Were, Columbia - 1973 Designed by Dorothy Jeakins/Moss Mabry - Academy Award Nomination - Best Costume Design for 1973 - (Courtesy of Marcia Tysseling & Jerilyn Brown, Star Wares Collectibles - Agoura Hills, CA) Also by the Jeakins/Mabry designing team, this black and white crepe rayon, 1940’s-style, calf-length dress with geometric pattern, sports short sleeves, pleated skirt, and decorative jet black-beaded buttons over zigzag cut pockets, and padded shoulders. This dress was worn on screen when Katie Morosky runs into her college crush, Hubbell Gardner, in the now- famous scene with Barbra whisking her fingers through Robert Redford’s hair. It was shown on film under a silk black jacket. Included in front of The Way We Were costumes is the rejected art work from three alternative posters that were under consideration to promote the film. Blouse from For Pete’s Sake - 1974 Designed by Ingelborg of New York & Vienna (Courtesy of Mary Haag - Rochester, NY) This coral pink, multi-color, floral print, long sleeve top features an open front, accordion-pleated waistline, and cuffs with ruffled edges. You might remember Barbra wearing it as the zany Henrietta Robbins, who wanted to invest in pork bellies to help her husband’s financial position. A pair of “The Gap” blue jeans from Barbra’s own closet is also presented here. Framed Japanese Shunga Print from Nuts, Warner Bros. – 1987 Set Designed by Greg Papalia (Courtesy of Devin Bliss - Phoenix, AZ) This reproduction print, matted in a gilt wooden frame, was closely examined on film by attorney Aaron Levinsky (Richard Dreyfuss), as it hung in the apartment of the prostitute on trial for murder, Claudia Draper, the character portrayed by Barbra. “Shunga” is a form of erotic art from Japan that originated between the 17th and 19th centuries. Prints similar to this were originally used as sexual manuals, and kept secretly inside pillow boxes before the post-Victorian age of sexual exploitation. A photograph of that scene is to the left of the print in this display. Sconces from The Mirror Has Two Faces - 1997 Set Designed by John Alan Hicks From the hall of the home of the character played by Lauren Bacall (Barbra’s on-screen mother) in Barbra’s third directorial effort on film, these beautiful art nouveau wall sconces were acquired at a Christie’s/Julien Entertainment auction in New York City in December 2004. Orphanage Dress from On A Clear Day You Can See Forever, Paramount – 1970 Designed by Cecil Beaton Constructed of fine wool jersey and lined with cotton, you might remember Barbra scrubbing the floors of the orphanage in this calf-length dress with ¾ sleeves, in the famed Vincente Minnelli-directed musical extravaganza. The costume is adorned with crocheted and/or appliquéd patches on the right sleeve and side of the skirt, and was originally worn with wool spats embellished with leather. Red Velvet Gown & Cape created for On A Clear Day You Can See Forever, Paramount – 1970 Designed by Cecil Beaton (Courtesy of Deborah Burke, AntiqueDress.com- Stamford, CT) Quite possibly the most sensual creation ever worn by Barbra, this red, silk velvet, full-length, empire- style gown, features an attached gold silk under-dress, which is revealed from the seven oval-shaped cutouts in the front of bodice, and in graceful descent. It is edged with gold bugle beading and decorative metallic gold-thread flowers, “spaghetti” straps, and sports a built- in boned brassiere, and flowing train. It is accompanied by a matching red velvet cape, with end tassels lightly tinted at the tops. Barbra’s position was solidified in culture’s high regard for her sense of style when Newsweek magazine declared, “She’ s a thoroughbred clotheshorse for Cecil Beaton.” "Melinda” Jacket, Muff & Hat from On A Clear Day You Can See Forever, Paramount – 1970 Designed by Cecil Beaton (Courtesy of Jeffrey Laymon – Ft. Lauderdale, FL) Who could forget Barbra in the courtroom scene wearing this whimsical ensemble in which she, as Melinda Tentrees inimitably declares, “I am appalled at this outrageous inquisition!” The amazing costume is comprised of an 18th century-style orange wool jersey waist coat with tails, with decorative orange thread appliqués around the collar, down the front, on the full-length sleeves, and at the cuffs, It is also lined with orange silk. Included is the orange wool muff with appliquéd fringe tassels over all, and the orange wool top hat. In and of itself a work of art, the hat features a decorative ribbon medallion-shaped adornment with two tassels, and a long-flowing orange chiffon scarf attached at the rear. All of the movie posters and lobby cards featured on the wall or displayed in this case are extremely rare. The international pieces are works of art in and of themselves. Many more, both framed and unframed, can be seen and are available for purchase in the Barbra Streisand Memories Gift Shop located in the corridor adjacent to the lobby desk leading to Mel’s Diner. When viewing the lobby cards and movie posters, it is interesting to note the number of actors in their early careers, with whom Barbra shared the screen, that become bona fide stars in their own right in years that followed. They include: Jack Nicholson, who played Barbra’s stepbrother in On A Clear Day…; a very young Dennis Quaid, who played Barbra’s son in All Night Long; James Woods, who played Barbra’s “geek” best friend in The Way We Were; and, Madeline Kahn, who played the infamous Eunice in the comedic farce, What’s Up Doc? Even a porn star has worked with Barbra! You might recall that Marilyn Chambers portrayed Robert Klein’s girlfriend in The Owl and the Pussycat! Early Personal Gowns & The Concerts Barbra’s personal wardrobe pieces are featured on the left of this case and concert items are on the right. Pink Couture Gown - circa 1966 Designed by London Couture One of Barbra’s personal London creations while in England performing in the stage version of Funny Girl in 1966, this lovely pink silk gown, adorned with silk roses, features yards of fabric and bows over a crinoline under gown. It was acquired at Christie’s in New York, at the first of several auctions of Barbra’s personal collection of clothing, and the style incorporated in its design is indicative of many of Barbra’s favorite flowing gowns today. Interestingly, it would have been worn during her pregnancy with her son, Jason Gould. Red & White Striped Dress – circa 1966 Designer unknown In a woven knit, this red and white casual dress was donated by Barbra to a charity benefit auction. The personal note from Barbra, inscribed on Winter Garden Theatre pink -stationary is presented beneath the dress. Note that in the framed three- page magazine layout displayed to the left of the dress, Barbra is wearing an almost identically-styled creation. Vanity Fair Lounging Pant Suit – 1991 Designed by Donna Karan, DKNY, New York This two-piece sheer sequined ensemble is constructed of a single layer of nylon and rayon “fish net” fabric, adorned with an intricate pattern of black sequins, and features elastic-waist leggings and a long-sleeve turtle neck blouse. The luminous creation was featured in the September, 1991 Vanity Fair, with a cover story entitled “Queen of Tides.” Herb Ritts photographed Barbra modeling it for the magazine, and it would serve as an example of Donna Karan’s future “sparkling” creations that Barbra would wear both on the stage and in personal appearances over the next 10 years. Please note the photograph in a small frame to the right. Blended Fur Hat on Wax Museum Streisand Bust – circa 1970’s Designed by Henri Bendel for Turkistouckkouy, Helsinki (Hat Courtesy of Joan Haag - Rochester, NY) (Bust Courtesy of Charles Moniz – Los Angeles, CA) Although not an actual movie costume, this tan and brown circular fur hat with brown satin lining was utilized as a piece for Barbra’s personal use, and she appeared wearing it to the premiere of Funny Lady in 1975. It is featured on a custom bust, part of a wax figure of Barbra, which was created especially for the owner of Baby Jane Collectibles of West Hollywood by an artist from the Hollywood Wax Museum. Alternate White “The Concert” Gown - 1994 Designed by Barbra Streisand & Donna Karan Made of full-length crème de crepe silk jersey, featuring a décolleté neckline, empire waist, two-layered skirt and a train, the front of the inner skirt is knee length, and the design has a built-in body suit. This gown is an exact double of the black version worn numerously throughout “The Concert” tour of 1994. Alternate Black “The Concert” Gown – 1994 Designed by Donna Karan Similar to the gown worn for the five city concert tour that was generated from Barbra’s momentous return to the stage at the MGM Grand Garden, New Year’s Eve, 1993, after a nearly 27 year absence, this version is also full length, with an empire waist and long sleeves. Made from a single layer of Rayon and Spandex, this creation, however, features a variant wide off-the- shoulder cowl neck. The Timeless – Millennium Concert Gown - 2000 Designed by Barbra Streisand & Donna Karan (Courtesy of Devin Bliss – Phoenix, AZ) This beautiful rendering, yet another by the Streisand/Karan designing team, was the flowing gown Barbra used for the second act opening of her famous Timeless Millennium Concert at the MGM Grand Hotel, and is also featured in the Timeless video. A custom burgundy taffeta, full-length ball gown, it features an empire waist, short sleeves, drape collar, and is fully lined. Under the gown is a hoop skirt with crinoline made of synthetic fiber and netting. The event in Las Vegas marked Barbra’s first concert appearance in six years. Who could forgot her empowering version of “On A Clear Day…” or enchanting “Send In the Clowns” while wearing this creation? With respect to another remarkable item in this display, one only needs to quote Fanny in Funny Girl, “You ask your looking glass, Vat is it, makes her so exquisite?” The metal stand, amidst the array of nearly every piece of concert memorabilia licensed for Barbra’s concerts, is the actual hair washing stand that Barbra used while touring! Observe the confetti scattered throughout the concert memorabilia presentation. It is from the MGM Grand Millennium New Year’s Eve event, when at the stroke of midnight, the lucky people in attendance were covered in it, in a never-ending paper shower. Note also the green plastic and cardboard metallic rendering of the MGM Grand Hotel’s marquis with a “revolving” cube of Barbra’s face. Surprisingly, this was the actual invitation that was mailed in a matching cardboard box, to high roller’s worldwide, proclaiming the appearance of Streisand at the hotel’s “grand” opening for New Year’s Eve, 1993. The elaborate piece emulated a mach-up of the thematic “Emerald City” from the film classic, The Wizard of Oz. The large poster featured in the upper right of this case is the actual 1993 “The Concert” lobby poster from the Las Vegas MGM Grand Hotel. To coincide with the hotel’s grand opening, Barbra’s return to the stage to perform her first concert in nearly three decades was considered by the entertainment industry as an unprecedented event. This is the exact poster that was prominent in the hotel front lobby. Thousands of fans and hotel visitors had their picture taken in front of it. Did you? Barbra’s Youth & Early Career This case contains Barbra’s middle school picture from 1955. This was the same year she recorded “More Than You Know.” You can hear that recording on Just for the Record. By the way, thirteen year old “Barbara” in the 3rd row from the right, second seat back. Barbra’s 1959 Erasmus Hall High School Arch yearbook with her graduation picture is the featured piece in this case. Also included are several Erasmus pins, postcards, buttons and a mug. The choral pin is of special significance, as Barbra’s extracurricular credits reflect. Do you want to hear an album of Barbra singing Irving Berlin? You are not the first to have that wish. Note Barbra’s personal response to a much earlier expressed and documented desire. Miss Marmelstein was Barbra’s first Broadway role in I Can Get It for You Wholesale. Notice the show’s program, Playbill, photos and review. Of particular interest is the program biography, as well as the 45 single release which spells Barbra as Barbara. Oy! As Barbra says, her name is Bar-bra and her last name is "STRY-SAND like sand on a beach...not Strei-ZUND or Strei-ZAND!" On January 14, 1964, The Boston Trabeler had a front page photo and article regarding Ms. Streisand’s opening of Funny Girl. She is pictured with Fanny Brice’s daughter, Frances. Also in this case, is an autographed photo of Barbra, Barbra Streisand stamps, a magazine cover depicting the Barbra Streisand Rose, early "arcade cards" and more. Barbra’s Favorite Things and People Black & White Two-Piece Formal Sailor Ensemble – circa 1963 Designed by Barbra Streisand (Courtesy of Deborah Burke, AntiqueDress.com – Stamford, CT) This custom silk satin suit emulates Barbra’s consistent intrigue with the “sailor” top, and embellishes it once again, but this time, with adorning crème and black sequins. The blouse features an affixed decorative matching sequined tie, white polyester lining (added later), and a matching crème satin full length skirt with side slit. The top is a more formal and elaborate version of what she wore on The Judy Garland Show, as well as her sold-out 1963 appearances at the Hollywood Bowl and Coconut Grove in Los Angeles, which introduced Barbra to the chic Hollywood crowd, and made her the “talk of the town.” The “sailor” style was, naturally, carried forward with Barbra’s gown worn on her first television special, My Name Is Barbra. This case also depicts some of Barbra’s personal items. Displayed are: • Early china pieces. • Her Ramirez Estate homes (now Ramirez Canyon Park, which is open to public tours). • Flooring from “The Barwood” home. This is where Barwood Films offices were located. The flooring acquired only after a serious mudslide. • Coat hangers from her closet. • Monogrammed bath towels (as pictured in the adjacent Architectural Digest). • Real estate brochures and floor plans from The Ardsley, New York apartment home. • Real estate articles when Barbra challenged the refusal to sell her a home. • Photos of her son, Jason Gould. • Photos of her husband, James Brolin. • Photos of her mother, Diana Kind. • Photos of her friends, Ray Stark, Richard Baskin and Marilyn Bergman. • Photo of & autographed items from her longtime manager, Martin “Marty” Erlichman. • And of course, her beloved pups, Sammy and Sadie! Barbra's continued and generous support for charities and her involvement in politics is recognized throughout several photos. The Barbra Streisand Foundation has provided over 13 million dollars of aid to nonprofit causes since she established it in 1986. Merchandising in Earlier Technologies Many forms of media have allowed us all to enjoy Barbra prior to the DVDs and CDs of today. Displayed are samples of that media including LP records, 8-track tapes, Beta and VHS cassettes, CEDs, Laser Discs, books, books on tape and even old- fashioned piano rolls. Ahhh...the good old days! ------------------------------------------------------------------------------------------------------------------------------------------------ Several new pieces were added to the collection once the run of the exhibit was extended. These items are displayed separately. Lavender/Gray Jeweled Grammy Award Outfit Designer Unknown (Courtesy of David Salyer - Los Angeles, CA) The 22nd Annual Grammy Awards were held on February 27, 1980. What made that evening memorable as one of Grammy’s greatest moments, was the unscheduled appearances of Barbra Streisand and Neil Diamond to perform “You Don't Bring Me Flowers.” The audience screamed uncontrollably when Barbra, wearing this wonderful ensemble, appeared with Neil on stage. Created from custom crepe silk, it is adorned with silver rhinestones, has padded shoulders, a high-neck collar which features fabric-covered buttons on the rear, with full-length sleeves, and “pajama”-style pants. Later in 1980, Barbra also wore this wonderful outfit for the concert tribute honoring her dear friends and collaborators, Alan & Marilyn Bergman, for the American Civil Liberties Union benefit at the Los Angeles Music Center. As a side note, Barbra won her first two Grammy Awards in 1964 for her first album. To date, she has been nominated 38 times. She received the Grammy Awards as follows: 1964 The Barbra Streisand Album—Album of the Year 1964 The Barbra Streisand Album—Best Female Performance 1965 “People”—Best Female Vocal 1966 My Name is Barbra—Best Female Vocal 1977 “Love Theme” from A Star is Born—Song of the Year 1977 “Love Theme” from A Star is Born—Best Pop Vocal Performance Female 1981 “Guilty”—Best Pop Duo or Group Vocal 1987 The Broadway Album—Best Pop Female Vocal 1992 The Legend Award 1995 Lifetime Achievement Award Gold Beaded Scopus Laureate Award Gown Designed by Ray Aghayan – 1984 (Courtesy of Deborah Burke - AntiqueDress.com, Stamford, CT) This brilliant gold evening gown is one of the most dazzling high-couture fashions that Barbra has ever worn. Featuring an off- the-shoulder neckline, and short cap sleeves, its construction encompasses four panels hanging from the gown’s empire waist, and it is covered in elaborate faceted beading and sequins, with various colors reflecting off the gown’s textured gold lame. In 1984, Barbra Streisand was honored with The Scopus Laureate Award from Hebrew University, and she commissioned Ray Aghayan (Bob Mackie’s longtime designing partner) to blueprint a gown fashioned after the one worn by the woman captured in the painting, “Portrait of Adele Bloch-Bauer” by Gustav Klimt. This piece is the breathtaking result, and was worn when Barbra accepted the prestigious award. The painting in question, which was the inspiration of this shimmering design, has been in the headlines over the past few years. Members of the Adele Bloch-Bauer’s family were confined to a concentration camp in 1938 and the Nazis seized the portrait, among others. Maria Altmann, the 90 year-old niece of Klimt’s subject, and her attorney, E.R. Schoenberg, engaged in a tenacious legal and diplomatic struggle with the Austrian government to return ownership to Altmann, as the rightful heir. This past February, she won her suit, and the Austrian government was forced to return the portrait, along with five other paintings valued at over $331 dollars, all of which are currently on display at the Los Angeles County Museum of Art. House Beautiful Caftan & Furniture – circa 1974 Designed by Barbra Streisand (Courtesy of David Salyer, Los Angeles, CA) The custom red and silver satin caftan encrusted with red, black and silver sequins displayed here, features patchwork at the lower front of the bodice, and is trimmed with red velvet ribbon, with “shoe lace” style silver tassels affixed to the sides, adorned with a short train. This magnificent piece is demonstrative of both high couture and art, and was designed specifically for a deco home that Barbra was designing in Malibu. Barbra was photographed in it, however, on the August 1974 cover of House Beautiful magazine, shot in the media room of her Carolwood Drive home in Los Angeles, California. Incorporated in this display, and also captured in the same magazine layout, are Barbra’s Art Deco-style, cube-shaped, high back, club chairs in a geometric patchwork pattern of maroon, red, black, gray and cream. Although the chairs are upholstered in velour, their fabric most closely resembles mohair, which was indicative of the material used during the 1920's “Machine Age” period. Please also note yet another piece from her LA home in this presentation: a 1930’s-style smoking table. The Birdcage: “Don’t Believe What You Read” The birdcage is the curator’s artistic expression of what he believes Barbra thinks of the tabloids. Check out the lyrics to a song she co-wrote in 1977, "Don't Believe What You Read," in response to tabloid articles claiming that Barbra had birds flying freely in her disheveled home. Today, the curator comments that Barbra might even include the Los Angeles Times in that bird cage, as she recently cancelled her subscription due to the release of an editor with a more liberal leaning than those that remain or replaced him. The Barbra Streisand Memories Gift Shop Visit the Barbra Streisand Memories Gift Shop containing thousands of other very rare and not-so-rare Streisand collectibles and memorabilia. The shop is literally a continuation of the exhibit, with items available for purchase. Also here are Barbra Streisand mannequins, costume reproductions and artifacts from San Francisco’s former “Hello Gorgeous Museum.” A portion of the net proceeds from the gift shop sales will be donated to The Barbra Streisand Foundation and The Hollywood Museum. Also, be sure to visit with the curator of Barbra Streisand: The Legacy Collection, Lou Papalas, in The Barbra Streisand Memories Gift Shop in the Hollywood Museum lobby area. It is located off to the right of the first floor lobby in the corridor leading to Mel's Diner. Lou will answer any questions you may still have about the exhibit, and will also assist you in finding that special piece of memorabilia you have been looking for. Consider him your personal shopper for all Barbra items. Lou also takes pride in the fact that he has almost everything that exists pertaining to Barbra's career. If he does not have it in one of his warehouses, he will personally find it for you. Additionally, some of the items featured in the exhibit are also available for sale, providing the potential new owner can wait until the conclusion of the exhibit (presently scheduled for June 1, 2006) to take possession. Exhibited items available for purchase include: • For Pete’s Sake robe. • The Way We Were dress. • The Mirror Has Two Faces outfit. • The two piece white sequined sailor top and skirt designed by Barbra. • On a Clear Day. . .pierced front gown with cape designed by Cecil Beaton. • The Belle of 14th Street black gown and hat. • Color Me Barbra sequined jump suit. • Mannequin from the Wax Museum. • Barbra Streisand portraits. • Wall sconces from The Mirror Has Two Faces. • Ray Aghayan Gold Gown inspired by the Gustav Klimt Portrait. The Barbra Streisand Legacy Collection Association (You, too…can join!) As you probably know, Barbra sold thousands of her personal possessions, as well as career gowns and costumes, at live and online auctions, to raise funds for The Barbra Streisand Foundation. Since its inception in 1986, this foundation has generated over $13 million to charitable groups, conservation efforts and human rights initiatives. Parting with these items must have been very difficult for her. She took great care in preserving her treasures, and as everyone knows, letting go can be challenging. However, Barbra recognized the importance of using her items to raise funds for causes near and dear to her values. If you are in possession of rare Barbra Streisand gowns and/or memorabilia and would like to join The Barbra Streisand Legacy Collection Association, please contact Lou Papalas. There is no charge or obligation to unite with this distinctive group. Many of the members who have acquired these special items, formerly owned by Barbra, hope to continue Barbra’s example by raising funds for nonprofit organizations, thereby perpetuating the legacy of Barbra’s unselfish generosity. Through the collectors’ joint efforts, it our intent to periodically exhibit Barbra’s former possessions, so that fans worldwide can continue to enjoy and honor the integrity of Barbra’s career and lifetime of work, while we continue her legacy of raising funds for worthwhile charitable causes. If you would like more information, please contact Lou Papalas by email at lpapalas@peoplepc.com or call him at 248-225-3158. Thank you, once again, for your interest, support and for visiting. I sincerely hope you enjoyed this exhibit – our collective labor of love. ........................................................................................................................................................................................... Reprinted from AFI website 2001: Barbra Streisand THE ACHIEVEMENT OF BARBRA STREISAND By Rochelle L. Levy The trustees of the American Film Institute have selected Barbra Streisand to receive AFI's 29th Life Achievement Award . It is not easy to characterize the artistry of Barbra Streisand. The unprecedented scope of her talent encompasses all the major disciplines–acting, directing, singing, composing, producing and writing. To excel in just one medium is rare indeed; to excel at the lot is nothing less than extraordinary. She is, accordingly, universally recognized as a true Renaissance Woman. The recipient of an Honorary Doctorate in Arts and Humanities from Brandeis University, Streisand is a rare honoree, the only artist to earn Oscar, Tony, Emmy, Grammy, Golden Globe, Cable Ace and Peabody Awards. She has been honored by France as a Commander of the Order of Arts and Letters, and she has received America’s Medal of Arts from the National Endowment for the Arts. The forces that drive Barbra Streisand stem from a rich amalgam of personality traits stretching back to her childhood: a longing to express herself, an uncompromising vision and a healthy dose of chutzpah. While the breadth of her creativity transcends gender, Streisand’s artistic choices have indisputably been informed by her femininity, particularly by the absence of her father, who died when she was just 15 months old. Although Streisand got her start as a singer, performing as a teenager at The Lion, Bon Soir and The Blue Angel in Manhattan, her first love was always acting. She describes herself as "an actress who sings." She won two Grammy Awards in 1963 for her first album, The Barbra Streisand Album; currently, she has a career total of 10. She is still the highest- selling female recording artist ever, with 42 gold, 26 platinum and 13 multi-platinum albums. She has had #1 albums in each of the last four decades. After starring on Broadway as Miss Marmelstein in I Can Get It for You Wholesale (for which she won the New York Drama Critics Award) and as Fanny Brice in Funny Girl, Streisand segued easily into television, where she received an Emmy for her first network special, MY NAME IS BARBRA. In 1968, Streisand reprised the role of Fanny Brice for her film debut in FUNNY GIRL. This was no typical ingénue; rather, Streisand’s delightfully bawdy, refreshingly ethnic, highly original Fanny forced critics and audiences alike to take notice. Streisand had effectively used her unconventional looks and style, blended with her enormously original talent, to assure herself a place in American cinema history. Her screen debut earned the newcomer a Best Actress Academy Award, and she later became the first female composer to win the Best Song Oscar, for Evergreen. Over the next 15 years, many films followed, including hits such as WHAT’S UP,, DOC? THE WAY WE WERE and A STAR IS BORN. During this time, Streisand was drawn to a project that had been close to her heart since 1968, when she first read Isaac Bashevis Singer’s short story, Yentl, the Yeshiva Boy. Upon reading the story’s first four words– "After her father’s death" –Streisand felt a visceral connection to the material. Film rights finally became available in 1978, at which time Streisand acquired them and began to plan its film adaptation. And she needed all the confidence and fortitude she could muster. Nay sayers were numerous, but Streisand’s fervor never wavered. She immersed herself in the world of YENTL, becoming the first woman to produce, direct, write and star in a major motion picture. Author/rabbi Chaim Potok was struck by the level of her commitment. "At times it is difficult to determine where Barbra ends and Yentl begins; the edges of the two personalities blur into each other," he remarked. "She seems filled and possessed by the work." YENTL proved to be not only a huge personal success for Streisand, but also, in a broader context, a triumph for female film makers during an exceedingly fallow creative period. Whereas in 1916, there were 12 female directors making films, 67 years later, in 1983, while Streisand was shooting YENTL, she was one of only two women shooting a major motion picture. "I felt pressure working on YENTL because it was one of the first big budget movies made by a woman, and I thought, ‘My God, if this doesn’t succeed in some way, then it’ll hurt a lot of female directors in the future.’" Fortunately, for those future directors, she won Golden Globes for both Best Director and Best Picture. Following YENTL, Streisand directed THE PRINCE OF TIDES (1991) and THE MIRROR HAS TWO FACES (1996). THE PRINCE OF TIDES was the first motion picture directed by its female star ever to win a Directors Guild of America nomination, as well as seven Academy Award nominations. Barwood Films (formed in 1972 and through which she produced these three films, as well as UP THE SANDBOX, NUTS and A STAR IS BORN) has focused on creating television movies and documentaries that explore pressing social, historical and political issues–issues that have only received such wide broadcast due to the force and conviction of Barbra Streisand’s involvement. Barbra Streisand’s passions extend to humanitarian causes, most notably through her work with the Streisand Foundation and her unabashed participation in the political process. Her acclaimed speech, The Artist as Citizen, delivered as an address to the Kennedy School of Government at Harvard University, is reproduced in Sen. Robert Torricelli’s book, In Our Own Words, which compiles "the most extraordinary speeches of the 20th century." The Streisand persona has always been larger than life. Call it perfectionism, call it conscientiousness, but reduced to its simplest element, you are left with a woman to whom the quality of the work is the final arbiter. She is an artist whose commitment pushes her to the heights of excellence. Yet, that very same commitment often invites criticism, perhaps because she is a woman–a woman who speaks her mind and dares to succeed. Barbra Streisand’s career defies conventional definition. She has conducted herself on her own terms, remaining unbowed by Hollywood pressures to change her appearance, to tone down her personality and to ease up on her attention to detail. A strong, willful, vulnerable, honest woman, Barbra Streisand serves as a role model for young women everywhere, as an example of passion, commitment, fortitude and determination. For the tremendous joy this consummate artist has brought to audiences worldwide as she transports us with her wondrous talents both in front of and behind the camera, the American Film Institute is honored to present Barbra Streisand with AFI’s 29th Life Achievement Award. |
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