Barbara Streisand Photo Collection Candid Funny Girl Birthday Party And More
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BARBARA STREISAND PHOTO COLLECTION CANDID FUNNY GIRL BIRTHDAY PARTY AND MORE. AN SHEET FROM A PHOTO ALBUM (BOUBLE SIDED) WITH 10 PHOTOS OF BARBARA STREISAND. SOME WITH HER AT THE MIC AND ABOUT TO CUT THE CAKE THAT READS HAPPY BIRTHDAY FUNNY GIRL. ALSO 4 ADDITIONAL PHOTOS 8X10 OF HER PERFORMING ON STAGE WITH ORCHESTRA 2 7X9 INCH PHOTOS OF HER PERFORMING WITH ORCHESTRA 8X10 INCH PHOTO OSCAR-THE AWARDS (THE OSCARS) (ACADEMY AWARDS) 1977 BARBRA STREISAND (WITH PAUL WILLIAMS) BEST SONG FOR A STAR IS BORN
Barbra Streisand, original name Barbara Joan Streisand, (born April 24, 1942, Brooklyn, New York, U.S.), American singer, composer, actress, director, and producer who was considered by many to be the greatest popular singer of her generation. The first major female star to command roles as a Jewish actress, Streisand redefined female stardom in the 1960s and ’70s with her sensitive portrayal of ethnic urban characters. Her immense popularity matched only by her outspokenness, she became one of the most powerful women in show business, noted for her liberal politics and her philanthropy. Barbra Streisand QUICK FACTS Barbra Streisand View Media Page BORN April 24, 1942 (age 79) New York City, New York NOTABLE WORKS “Yentl” “The Mirror Has Two Faces” “The Prince of Tides” “Walls” AWARDS AND HONORS Presidential Medal Of Freedom (2015) Kennedy Center Honors (2008) Grammy Award (1986) Grammy Award (1980) Grammy Award (1977) Academy Award (1977) Academy Award (1969) Emmy Award (1965) Grammy Award (1965) Grammy Award (1964) RELATED FACTS AND DATA Neve Campbell - Facts Macaulay Culkin - Facts Yalitza Aparicio - Facts View Facts & Data Initially aspiring to be a dramatic actress, Streisand joined a summer theatre group in Malden Bridge, New York, and began studying acting while still in high school. After graduation she moved to Manhattan, where her first break came in 1960 when she sang at a small local nightclub and won an amateur talent contest (and dropped the second a from her first name). Following singing engagements in Greenwich Village cabarets, she landed a small comic role as Miss Marmelstein in the Broadway musical I Can Get It for You Wholesale (1962) and stole the show. An immediate sensation, she made frequent television appearances, notably on The Judy Garland Show, and, beginning in 1963, released a series of best-selling record albums that featured vibrant and original interpretations of popular songs. Her first solo album, The Barbra Streisand Album, won Grammy Awards for album of the year and best female vocal performance—the first two of many. BRITANNICA EXPLORES 100 WOMEN TRAILBLAZERS Meet extraordinary women who dared to bring gender equality and other issues to the forefront. From overcoming oppression, to breaking rules, to reimagining the world or waging a rebellion, these women of history have a story to tell. Streisand established herself as a major Broadway star in the career-making role of Fanny Brice in the musical Funny Girl (1964). In 1965 she won two Emmy Awards for My Name Is Barbra, the first of a series of tremendously successful television specials. She made her movie debut in 1968 in an Academy Award-winning reprise of her role as Fanny Brice. Although Funny Girl portrays Brice’s life, not Streisand’s, it established many enduring elements of Streisand’s screen image, including her transition from an awkward ugly duckling to a stylish, sophisticated star, her Jewish origins, and her persistence and determination. Her self-deprecating opening line (“Hello, gorgeous,” said into a mirror) and her first solo number (“I’m the Greatest Star”) underscored the fact that Streisand had succeeded despite widespread early opinion that her unconventional looks would keep her from becoming a major movie star. Barbra Streisand in Funny Girl (1968). Barbra Streisand in Funny Girl (1968). © 1968 Columbia Pictures Corporation; photograph from a private collection Streisand starred in several film musicals in the 1960s and ’70s, including Funny Lady (1975), the sequel to Funny Girl, as well as Hello, Dolly! (1969), On a Clear Day You Can See Forever (1970), and A Star Is Born (1976). She played screwball heroines in such comedies as The Owl and the Pussycat (1970) and What’s Up, Doc? (1972) and the romantic lead in the enormously popular The Way We Were (1973). She made her directorial debut in 1983 with Yentl, based on a story by Isaac Bashevis Singer about a young woman who pretends to be a man in order to continue her studies. Streisand starred in the title role—which she had wanted to play since 1968—as well as cowriting and coproducing the movie. She concentrated on straight dramatic roles in Nuts (1987), The Prince of Tides (1991), and The Mirror Has Two Faces (1996); the last two she also directed. However, she subsequently appeared in the broad comedies Meet the Fockers (2004), Little Fockers (2010), and The Guilt Trip (2012). Despite the seeming variety, most of Streisand’s characters share the qualities of strength and fierce independence combined with vulnerability. scene from Funny Girl scene from Funny Girl Barbra Streisand and Omar Sharif in Funny Girl (1968), directed by William Wyler. © Columbia Pictures Corporation Michael Crawford and Barbra Streisand in Hello, Dolly! (1969). Michael Crawford and Barbra Streisand in Hello, Dolly! (1969). © 1969 Twentieth Century-Fox Film Corporation; photograph from a private collection Streisand, Barbra Streisand, Barbra Barbra Streisand in Yentl (1983). Metro-Goldwyn-Mayer Inc. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now Although admired as a filmmaker, Streisand inspired perhaps even greater devotion from her fans as a singer. In addition to the albums featuring the sound tracks from her films and television specials, her most popular recordings included The Barbra Streisand Album (1963), The Second Barbra Streisand Album (1963), The Third Album (1964), People (1964), Je m’appelle Barbra (1966), Stoney End (1971), Streisand Superman (1977), Guilty (1980), The Broadway Album (1985), Higher Ground (1997), and Love Is the Answer (2009). She avoided performing live for several years, but in the 1990s she appeared in a series of live concerts that broke box office sales records. Streisand remained in the public eye well into the 21st century, continuing to perform in concert and releasing albums, among them the duets albums Partners (2014) and Encore: Movie Partners Sing Broadway (2016). In Walls (2018) she sang about various topical issues and was critical of U.S. Pres. Donald Trump. Streisand’s numerous accolades included an award from the Recording Academy for lifetime achievement (1995) and a medal from the French Legion of Honour (2007). She accepted a Kennedy Center Honor in 2008, and in 2015 she received the Presidential Medal of Freedom. MALIBU, Calif. — Barbra Streisand — whose coming album of duets, “Encore: Movie Partners Sing Broadway,” features a stellar supporting cast that includes Melissa McCarthy and Jamie Foxx — is talking about another duet with another celebrated singer, now long dead. That would be Judy Garland, whose television show Ms. Streisand visited in 1963 in what feels like a watershed moment in the history of fabled American vocalists. In the course of my recent afternoon-long visit with Ms. Streisand at her cloistered estate here, she says several times that she doesn’t like revisiting her past. But since she’s been researching a memoir, she’s in a more retrospective state of mind than usual. And before the afternoon is over, she will take me on a circuitous tour of her long life in the spotlight, with frequent side trips into the persistent problems of being Barbra. Ms. Streisand, you see, has always been in charge — of her image, of her career and, whenever possible, of her immediate environment — ever since she started singing in Greenwich Village nightclubs as a gawky teenager in thrift-shop clothes in the early 1960s. It is a determination that has made her one of the most enduring — and adored and disliked — of all American stars. It is also why she seems unlikely to retreat entirely behind the iron gates of the estate she says is the one place she is entirely comfortable. She needs to make sure that the version of Barbra that the world knows — onscreen, in recordings, in biographies — is the version she sees, as exactly as possible. Unlike many female stars of her generation and stature, she has rarely ceded control to any manager, or mate, or Svengali. ImageBarbra Streisand with Judy Garland on “The Judy Garland Show” in 1963. Barbra Streisand with Judy Garland on “The Judy Garland Show” in 1963. Which brings us back to the subject of Garland, a singer with whom Ms. Streisand has been tellingly compared and contrasted over the years. Ms. Streisand was barely into her 20s when they met, but already on the cusp of astronomical stardom; Garland, 41, would be dead six years later, one of Hollywood’s most notorious casualties of devouring fame. Yet when they sang two American standards in counterpoint — “Happy Days Are Here Again” (Ms. Streisand) and “Get Happy” (Garland) — they seemed like a matched set. Each interpreted an upbeat song with a big, trumpeting voice that nonetheless hinted at a small, solitary figure within. Happiness, as hymned in these renditions, would never be won easily. You can find that video on YouTube, and it is impossible to watch it without shivering. “Afterward, she used to visit me and give me advice,” Ms. Streisand says. “She came to my apartment in New York, and she said to me, ‘Don’t let them do to you what they did to me.’ I didn’t know what she meant then. I was just getting started.” Whoever “they” were — studio moguls, a voyeuristic press, parasitic hangers-on, cannibalistic fans — it was never likely that they could do to Ms. Streisand what they did to Garland. From the earliest days of her career, Ms. Streisand exuded a Garlandesque fragility and emotional openness. But her long nails and close-set eyes, both quizzical and confrontational, spoke of the toughness of someone singularly capable of protecting herself. Both sides of that dichotomy are still very much in evidence when I visit Ms. Streisand at her estate here, a compound of three main buildings that evoke a fantasy New England, incongruously situated above the glittering expanse of the Pacific Ocean. To step behind its gates after experiencing the brown and smoke shades of the adjoining highway on a hazy summer’s day is to feel like Garland’s Dorothy stepping from sepia-toned Kansas into the Technicolor of Oz. Ms. Streisand — who is promoting both her album, due Aug. 26, and her nine-city concert tour this month (called “The Music … the Mem’ries … the Magic!”) — is waiting at the open door of the house she lives in. That’s as opposed to the one she works in — called “Grandma’s House” — or “the Barn,” which she describes as “an art project.” That’s the one with a subterranean mall of old-time shops, a jaw-dropping marvel of themed décor and room after room of impeccably arranged artifacts. Image Barbra Streisand in her dressing room at the Winter Garden in 1964, during her Broadway run in “Funny Girl.”Credit...John Orris/The New York Times At 74, she looks like, well, Barbra Streisand, albeit a softer, more subdued version than the one you know from six decades of movies, from her Oscar winning-debut in the musical “Funny Girl” (1968), in which she recreated her Broadway performance as the Ziegfeld entertainer Fanny Brice, to the comedy “The Guilt Trip” (2012), with Seth Rogen. Though the rooms behind her beckon in carefully coordinated shades of pale, Ms. Streisand is wearing the uniform black of an East Coast urban dweller. “I am a New Yorker!” she exclaims, when I point out the discrepancy. “A Brooklynite. That means it’s an earthy place to come from. It’s reality, as compared to reality TV.” In conversation, she is a paradoxical mix of wide-open spontaneity and preoccupied vigilance. She may shoot from the hip when she talks about herself, but she also backtracks a lot, as if to retrace the bullet’s trajectory and make sure it hit its target. It’s when she’s guiding me through her homes — gleefully annotating their contents (while noshing from the plates of garden-fresh snacks that keep materializing, courtesy of her longtime housekeeper) — that she seems most at ease. Ms. Streisand has created her own sui generis alternative reality here, one she shares with her husband, the actor James Brolin. (On this afternoon, the day before their 18th wedding anniversary, he is filming a movie in Canada, but he has sent her “four beautiful arrangements of flowers.”) Image Barbra Streisand at her Malibu, Calif., home. Credit...Emily Berl for The New York Times This world is arranged and maintained according to her highly exacting standards, though even here there are annoying signs of imperfection. “Vicky, whose truck is that?” she calls out to an assistant, as she’s showing me her rose-thick gardens. “It’s in the shot. Whenever I show my house, I never want a car in it. Also, tell somebody there’s a mop in the lavender room in Grandma’s House.” Ms. Streisand has written a book about the creation of this private Xanadu, “My Passion for Design,” which became the unlikely basis for a play about her, Jonathan Tolins’s “Buyer & Cellar.” No, she hasn’t seen it. One of the first things she says to me, chummily, is “I understand you’ve seen ‘Buyer & Cellar’; well, now you can see the real thing.” Ms. Streisand says she hates to leave her Malibu property, the place where she can be in control. Almost as soon as she set foot onstage, during rehearsals for her first Broadway show, “I Can Get It for You Wholesale,” she has known, she says, that she was born to be a director, in all senses of that word. Image Directing “The Prince of Tides” (1991).Credit...Columbia Pictures She has become one behind the camera, as the pioneering female director, star and producer of “Yentl,” “The Prince of Tides” and “The Mirror Has Two Faces.” Being that kind of director, though, means waiting — and waiting — for green-lights and money and rights to material. Though it had been announced a few weeks earlier that she would be making her long-anticipated version of the musical “Gypsy” — in which she would portray the ultimate stage mother, Mama Rose — that project is again in limbo. “I’m at their mercy,” she says. “One day you’re going to do ‘Gypsy,’ the next day it’s off. And then this is the only place — writing a book, making a record or doing a tour — where I can do what I have to do, my work.” The record is “Encore,” the 35th of Ms. Streisand’s studio albums. (To date, her records have sold about 245 million copies worldwide; and with “Partners,” her 2014 compilation of duets, she became the only singer to land a No. 1 album in six successive decades.) She says that working on the numbers with the other singers — performers known principally for film work, and including Antonio Banderas, Alec Baldwin, Anne Hathaway and Seth MacFarlane — was rather like producing a series of mini-movies. She added dialogue and, in some cases, altered lyrics from Broadway classics. For her interpretation of Irving Berlin’s “Anything You Can Do,” from “Annie Get Your Gun,” she devised a prologue in which she and Ms. McCarthy sparred after learning they were up for the same film role. This allowed Ms. Streisand to interject a joke about how to say her name: It’s Streisand, as in “sand on the beach,” not “Strize-and,” a mispronunciation that has plagued her at least since she first appeared on “The Ed Sullivan Show” in the early 1960s. Image Barbra Streisand with her husband, James Brolin, in 2014.Credit...Sonia Moskowitz/Getty Images Recently, she heard John Mayer (with whom she sang on “Partners”) being interviewed by the producer and TV host Andy Cohen, and to her dismay, “they both called me Barbra Strize-and.” She says she can’t wait for them to hear the duet with Ms. McCarthy. “Maybe they’ll get it now,” she says, managing to sound both amused and annoyed. The world is riddled with such exasperating errors, and Ms. Streisand sees herself as burdened with the Sisyphean task of uprooting them. Working on her memoir — scheduled for publication in 2017 (although she says, “Don’t hold your breath”) — she has become more agonizingly aware than ever of misrepresentations in the many, many accounts of her life that already exist. Writing about herself is not a process she enjoys. She says if she can speak fluently these days about long-past events, it is “only because I’ve had to look it up.” She is grateful to have discovered the existence of the superfan Matt Howe’s online archive of all things Streisand. Not that she looks at it herself. “Because, again, it’s like the play [“Buyer & Cellar”],” she says. “How do I look at myself? I can’t do it. But my researcher tells me what’s on that thing, like Marvin Hamlisch singing ‘The Way We Were’ [the theme song of her 1973 hit movie with Robert Redford] before I changed the melody and some of the lyrics.” For someone like me, who came of age watching and listening to Ms. Streisand in the early years of her career, her forced focus on the way she was is a godsend. It means that I get to see, in the screening room in the Barn, Ms. Streisand’s uncut sequence of herself as Fanny Brice performing “Swan Lake” in “Funny Girl.” (She supplies a running annotation as we watch, which includes speaking, in character, the unrecorded dialogue that Fanny was saying onscreen.) Image Barbra Streisand in her breakthrough solo number in the Broadway musical “I Can Get It for You Wholesale.”Credit...Leo Friedman I also get to hear about the Rialto of yore, where, as a young woman just a few years out of Erasmus Hall High School in Brooklyn, Ms. Streisand became a star in two musicals, “I Can Get It for You Wholesale” (1962) and “Funny Girl” (1964), the first and last Broadway shows in which she has appeared. When Ms. Streisand showed up at the Tony Awards in June (to present the award for best musical to “Hamilton”), it was her first appearance at the ceremony in 46 years. She never intended to make her career in live theater, she says. For one thing, she hated making the rounds of casting offices (“I’ve never wanted the humiliation of having to ask people for jobs”). There’s something, she says, about being judged — live and on the spot — that unnerves her, especially since her appearance in Central Park in 1967, when 150,000 people showed up and she forgot lyrics onstage. Since then, “I always got frightened when I had to perform live.” She was absent from commercial concert stages for the following 27 years. “I’m killing myself for this tour, because there’s a painting I want,” she says. She is a self-described “auction freak,” and the covetable paintings in her house include works by Munch and Modigliani, as well as a portrait of George Washington by Gilbert Stuart. (She performs at the Barclays Center in Brooklyn on Aug. 11 and 13.) She says she never sings a song the same way twice, which presented problems when she worked on Broadway. Her habit of continually tweaking her role as Miss Marmelstein, the overworked secretary in “Wholesale,” provoked its director, Arthur Laurents, into criticism that stings her to this day. “He said: ‘You’re never gonna make it in showbiz. You’re too undisciplined. You never do it exactly the same way.’” Image Barbra Streisand and Robert Redford in “The Way We Were” (1973).Credit...Columbia Pictures, via Associated Press Ms. Streisand says she visited Laurents — who also wrote the screenplay for “The Way We Were” — not long before he died in 2011. “And I said: ‘Arthur, what do you feel now about the way I work? Do you understand why I change things, or had a hard time freezing the same thing?’ He said, ‘I absolutely do understand.’ That was very rewarding for me.” Though she had no previous Broadway experience at the time of “Wholesale,” Ms. Streisand had her own specific notions about the staging of it. And for the record, she says, the idea of performing her character’s big solo in an office chair on wheels was hers, not the choreographer Herbert Ross’s. She seems to look back on her younger self with a certain wonder. “I don’t know that I would have the chutzpah now,” she says. But where did that original immense confidence — and hunger — come from? Much has been written about Ms. Streisand’s Brooklyn childhood: the gap left by the death of her father, a scholar and schoolteacher, when she was a toddler; the mother who never complimented her and thought she should become a secretary. (For the record, that’s how the signature nails came about, since they kept Ms. Streisand from being able to type.) “She had talent,” she says of her mother, who worked as a secretary but who Ms. Streisand describes as also having had “a beautiful voice.” “She didn’t have the drive. I said, “Why didn’t you do this, why didn’t you go after your dream?’ You know what I’m saying? You can have a dream, but how do you manifest it, how do you make it happen? Hard work, heart, taking chances — that was always my philosophy.” It’s all the more surprising, then, when Ms. Streisand says: “The thing is, I was always kind of lazy. On the one hand, I am — or I was — ambitious. On the other hand, if I was having a great love affair or something, I’d say, I don’t want to do anything else. I mean, searching for personal happiness was more important.” Image Performing at Barclays Center in 2012.Credit...Michael Loccisano/Getty Images That is why, she says, she turned down a number of plum roles in her first decade in Hollywood, including the starring roles in “They Shoot Horses, Don’t They?,” “Klute” and “Julia.” Those all went, memorably, to another actress. As Ms. Streisand says, in a deadpan aside, “I made Jane Fonda’s career.” So will we ever get to see her as Mama Rose in “Gypsy”? Ms. Streisand is now several decades older than that character, modeled after the mother of the celebrated stripper Gypsy Rose Lee. But when you hear her talk about “Gypsy” — and to see the project-pitching “sizzle tape” she made, which ends with a concert performance of her defiantly singing the climactic number “Rose’s Turn” — the mouth still waters. Ms. Streisand has given much thought to Rose. She has talked to her friend Stephen Sondheim, the show’s lyricist, about potential revisions to the songs. She has an ace idea for the delivery of the broken words “mama, mama” in “Rose’s Turn,” based on her belief that the key to Rose’s blind ambition to make a star of her daughter can be found in the mother who walked out on her. Another description Ms. Streisand offers of Rose seems closer to self-portraiture: “I think she’s tough as nails, but a tough person who’s vulnerable inside, you know? It’s like a crab, something that’s jelly inside. What makes for anger is also hurt, and that gives you the depth of playing somebody like that.” The Malibu residence, as tailored to her tastes and needs as a couture dress might be, would seem to offer a place where a person might shed her shell. I ask her if she feels serene here. She doesn’t answer immediately. So I ask: “Do you ever feel serene?” “That’s a good question,” she says. So I ask it again. Her muttered response: “No, not really, sad to say.” From the moment she burst on the Hollywood scene in Funny Girl, winking as she uttered the immortal "Hello, gorgeous" to her mirror image, until the release of her 1996 film, The Mirror Has Two Faces, there was and has been no one quite like Barbra Streisand. She was born off-off-off Broadway, in Brooklyn, the second child of Emmanuel and Diana (Rosen) Streisand, on April 24, 1942. Fifteen months later, Emmanuel Streisand died of a cerebral hemorrhage and the family immediately plunged to an economic level just above poverty. Diana Streisand took a job as a bookkeeper to support her daughter Barbara Joan and son Sheldon, leaving her little time for her children. The situation was only exacerbated when, in 1949, she married Louis Kind, who was, according to Streisand, "allergic to kids." The couple had one child together, Rosalind (later changed to Roslyn). They then separated, reconciled, and finally divorced. Streisand graduated from Erasmus High School in 1959 with a love of the theater and an impressive A average. Her formal education may have ended in Brooklyn, but her academic rewards are ongoing. In May 1995, she received an honorary doctorate from Brandeis, and earlier that year she had delivered a lecture at the John F. Kennedy School of Government at Harvard. As soon as she graduated from high school, despite her mother's protests, she left home to pursue her chosen career in Manhattan. Streisand worked odd jobs while preparing for stardom. She tried to enter the famous Actors Studio, but failed, so she took acting lessons from a friend, Alan Miller, instead, working hard at perfecting her craft. She then moved in with another actor friend, Barry Dennen, who steered her toward singing, helping her shape a song into a theatrical event. Streisand's first venue for this combined approach was the weekly talent show at the Lion Club, one of the premier gay clubs in New York. The underground bar scene fostered a sense of self and a sense of humor that readily warmed to Streisand: The kooky outsider finally found a place where her persona was appreciated and applauded. Journalist Shaun Considine recalls, "with the release of the final note from the song she was treated to her first ovation; and to her first victory." Hired for a one-week engagement, Streisand stayed at the Lion Club for three, building an idiosyncratic songbook and perfecting a wacky delivery style of impromptu one-liners. By word of mouth alone, the Lion Club was mobbed every evening to hear Streisand. She had become a gay icon overnight, and has remained so ever since. Following her success at the gay cabaret, Streisand was offered a job by the nearby Bon Soir club, to double her weekly salary. Once again, her engagement was quickly extended, from three weeks to thirteen. She was working hard on her act, and the audience responded appreciatively wherever she was booked: New York, Detroit, Cleveland, and St. Louis. In 1961, she made her television debut on The lack Paar Show, but it was her role of Miss Marmelstein in Broadway's I Can Get It for You Wholesale at age nineteen that put Streisand on the fast track to superstardom. The part of Miss Marmelstein was enlarged for her, and new songs were added. The show ran for nine months, garnering much praise. Streisand won more than rave reviews for Wholesale -- she also won the heart of the male lead, Elliott Gould. The two married in 1963. In 1966, they had a son, Jason Emmanuel. In 1969, they separated, and in 1971 they divorced, although they later hosted Jason's bar mitzvah celebration together. Although Streisand's show-stopping turn as Miss Marmelstein gave her national media exposure, it took months for Columbia Records to sign her to a contract. She was, it seems, too much of everything for their taste: too Brooklyn, too Broadway, too Jewish, too special, too eccentric, too unattractive. Her songs were too old and too obscure, and her style was too homosexual. Finally, in the spring of 1964, The Barbra Streisand Album was released and made history: it remained on the charts for nearly eighteen months, establishing Streisand as one of the most popular American singers of all time. The path from Barbara to Barbra, Manhattan to Malibu, has been neither linear, nor always successful. Following her astounding movie breakthrough in Funny Girl in 1968, Streisand snatched Hello, Dolly! from Carol Charming, who had made Dolly Levy a household name. Playing a middle-aged matchmaker was not a wise career move, however, and the film flopped. Its album peaked at number forty-nine on the chart, a dismal placing for a star. Having won an Oscar for Funny Girl, Streisand was not even nominated for Hello, Dolly! Her next film, On a Clear Day You Can See Forever, was nearly not released, and the soundtrack sold poorly--until the release of The Owl and the Pussycat in 1970 made it almost look passable. Then came What's Up, Doc? with Ryan O'Neal (they would team up again in The Main Event — and jump-start the fitness craze). She was back in orbit. In 1973, The Way We Were would bring her not only more money, fame, and fans, but also her first number one hit song. By then, she had also participated in her first political fund-raiser, for George McGovern (an act that would place her on Richard Nixon's enemies list). By the end of the 1970s, Streisand had starred in a rock remake of A Star Is Born with Kris Kristofferson and collaborated with singer-songwriter Barry Gibb on her best-selling album Guilty. She was on her way to superstardom. In September 1981, idolized and iconized, Streisand recorded “Memory” from the Andrew Lloyd Webber hit show Cats. According to Considine, then at Columbia Records, she declined to record "Don't Cry for Me Argentina" from Evita because Eva Peron "was a fascist." The album Memories went platinum even though it featured only two new songs. But her next project took a lot of chutzpah, and won for her both accolades and condemnation. Streisand both directed and starred in the film version of Isaac Bashevis Singer's story Yentl. Even though the movie made money, garnered good reviews, and inspired women's groups, she did not receive an Academy Award nomination (the film did win an Oscar for its music). Nor did Singer find the film treatment faithful to his original text. Briefly crushed, Streisand was soon back in the limelight again, in her own way, on her own terms, with The Broadway Album. The first cut on the recording is Streisand speaking with two advisers, who tell her the record won't sell-yet it peaked at number one on the charts and won two Grammys. In 1991, she tried her hand again at directing and starring (as well as producing) a film, Pat Conroy's The Prince of Tides. And again, despite the movie's good reviews and box office success, Streisand was snubbed by the Academy of Motion Picture Arts and Sciences. She turned her energies to helping elect Bill Clinton. In November 1996, she released another film in which she starred as well as directed and produced, The Mirror Has Two Faces. The movie was a hit with the fans, but the reviews were generally unfavorable. To date, then, Streisand has appeared in sixteen movies, mastering each genre — comedy, drama, musical — in turn. Whatever the plot, however, Streisand is decidedly, defiantly, Jewish. She portrays many undeniably Jewish Characters: Fanny Brice in Funny Girl and Funny Lady; Dolly Levy in Hello, Dolly!; the teenaged yeshiva boy who is really a girl in Yentl; and a Jewish psychiatrist in The Prince of Tides. In fact, even when she plays a non-Jew, she is Jewish nonetheless, acting the part with courage and conviction. She even made the lead role in the classic A Star Is Born Jewish, and insisted on playing a Jewish Rose in The Mirror Has Two Faces, formerly a French farce. Before Streisand, conventional wisdom stated that looking Jewish, for an actress, meant being relegated to supporting roles. Now, thirty years after Streisand, looking Jewish, ethnic, or in any way different has become chic. Streisand's Jewishness is not a role, but a lifestyle. She has been generous to Jewish causes and philanthropies in the United States and in Israel, honoring the memory of her late father, an educator. When asked why she performs, Streisand has indicated that it is not for the money. "I have enough money, thank God, and the only reason I want it is to give it away. There's nothing more I need," she told the New York Times in 1983. She champions environmental projects and is a dedicated Democratic fund-raiser; she raised so much money for Bill Clinton's 1992 election campaign that she was invited to his inauguration. She later spearheaded a boycott of Colorado ski resorts when that state passed Proposition 2 to deny gay men and lesbians any legal recourse against even the most blatant homophobia: "We must now say clearly that the moral climate in Colorado is no longer acceptable, and if we're asked to, we must refuse to play where they discriminate." Streisand's often courageous stands earn her the unswerving respect and loyalty of fans all over the world. At Harvard, she explained her philosophy: I know that I can speak more eloquently through my work than through any speech I might give. So, as an artist, I've chosen to make films about subjects and social issues I care about, whether it's dealing with the inequality of women in Yentl, or producing a film about Colonel Grethe Cammermeyer, who was discharged from the army for telling the truth about her sexuality. Yet in public performances and on the screen as the singer and actress, Streisand has a carefully constructed persona. She is touted as a natural talent, but she has taken many acting lessons. She sings to standing-room-only crowds, but she rarely performs in public because of her stage fright. She has a reputation with Hollywood insiders for arrogance, but is deeply insecure. Streisand is a perfectionist, pouring all her time and energy into her film projects, but Hollywood loves to snub her. Streisand, unapologetic about her insistence on total control over her movies and albums, believes the criticism is indicative of sexism. "Of course I want utter and complete control over every product I do. You know, the audience buys my work because I control it, because I am a perfectionist, because I care deeply." Streisand's fans think they know better; they love her. In her long career, Streisand has spawned a legion of fans, including singer Tony Bennett, whose 1995 album Here's to the Ladies begins with a tribute to Streisand and her signature song, "People": "From her humble beginnings to her triumph in the theater, no one has been more successful than Barbra. She is at the pinnacle of her art." Her films, albums, and rare public performances continue to break records. Fans are united in their love of the multitalented star and their hatred of what they perceive to be sensation seeking critics. There are Streisand fan clubs, Streisand fanzines, Streisand cyber-fansites, Streisand collectors, Streisand groupies, and just plain Streisand aficionados. The most notable of these just opened a Streisand boutique in California called, appropriately, Hello Gorgeous. To her fans, Streisand is a trailblazer who has developed her own unique sense of style and beauty. Her lifework, as expressed in her music and movies, as well as in her political activism, is a defiant reexamination and redefinition of these terms -- beauty, style, woman, activist -- on her own terms. Fans and critics alike agree that Streisand is extraordinarily gifted as a performer. Marvin Hamlisch, who in 1962 was Streisand's rehearsal pianist and in 1973 wrote the music for her hit movie The Way We Were, recalled his awe and surprise at her acumen for musical phrasing: "There was nothing she couldn't do with that voice, and she had an instinctual music taste that brought genius to everything she sang." She is equally at home singing ballads and rock, playing a harlot and a Hasid, directing a movie or producing one, creating her image or decorating a house. Designer Isaac Mizrahi, in the March 1997 issue of Out magazine, recalls that in his youth, Streisand was "one of my icons. She was kind of a misfit, and yet she convinced everyone she was beautiful, including me. She is beautiful, but she's not the prototypical ideal of female beauty." She has recorded fifty albums -- thirty went gold and twenty went platinum, making her one of the most popular singers of all time. Moreover, many of her albums have produced hit singles. She has starred in sixteen major movies, three of which she directed. She consistently draws sellout crowds to her live performances. Her television specials brought her to living rooms from Burbank to the Bronx. In addition, her innumerable philanthropic contributions to a wide variety of worthy causes are a testament to the fact that Streisand is much more than just an exceptionally talented and accomplished entertainer. Barbra Streisand is more than another consumer culture icon. She is a diva. A superstar. A sensation. Since the 1960s, she has won more varied awards (Emmy, Grammy, Oscar, special Tony) than anyone else in show business, and has sold more records than any singers but the Beatles. She is timeless, enduring, phenomenal. She has triumphed as herself in a town that thrives on make-believe, and she has done it all without mirrors. Barbara Joan "Barbra" Streisand (/ˈstraɪsænd/; born April 24, 1942) is an American singer, actress, and filmmaker. With a career spanning over six decades, she has achieved success in multiple fields of entertainment, and is among the few performers awarded an Emmy, Grammy, Oscar, and Tony (EGOT). Streisand began her career by performing in nightclubs and Broadway theaters in the early 1960s. Following her guest appearances on various television shows, she signed to Columbia Records and released her debut The Barbra Streisand Album (1963), which won two Grammy Awards, including Album of the Year. Throughout her recording career, Streisand has topped the US Billboard 200 chart with 11 albums—a record for a woman—including People (1964), The Way We Were (1974), Guilty (1980), and The Broadway Album (1985).[1] She has topped the US Billboard Hot 100 chart five times, with her number-one singles "The Way We Were", "Evergreen", "You Don't Bring Me Flowers", "No More Tears (Enough Is Enough)", and "Woman in Love". Following her established recording success in the 1960s, Streisand ventured into film by the end of that decade.[2] She starred in the critically acclaimed Funny Girl (1968), for which she won the Academy Award for Best Actress.[3] Additional notoriety followed with films including the extravagant musical Hello, Dolly! (1969), the screwball comedy What's Up, Doc? (1972), and the romantic drama The Way We Were (1973). Streisand won a second Academy Award composing music for "Evergreen", the love theme from A Star Is Born (1976), the first woman to be honored as a composer.[4] With the release of Yentl (1983), Streisand became the first woman to write, produce, direct, and star in a major studio film.[5] The film won an Oscar for Best Score and a Golden Globe for Best Motion Picture Musical. Streisand also received the Golden Globe Award for Best Director, becoming the first (and for 37 years, the only) woman to win that award. Streisand later directed The Prince of Tides (1991) and The Mirror Has Two Faces (1996). With sales exceeding 150 million records worldwide, Streisand is one of the best-selling recording artists of all time.[6][7] According to the Recording Industry Association of America (RIAA), she is the highest-certified female artist in the United States, with 68.5 million certified album units tying with Mariah Carey.[8] Billboard honored Streisand as the greatest Billboard 200 female artist of all time.[9] Her accolades include two Academy Awards,[10] 10 Grammy Awards including the Grammy Lifetime Achievement Award and the Grammy Legend Award,[11] five Emmy Awards, four Peabody Awards,[12] the Presidential Medal of Freedom,[13] and nine Golden Globes.[14] Contents 1 Early life 1.1 Family 1.2 Education 2 Career beginnings 2.1 Nightclub shows and Broadway stage 2.2 Television appearances, marriage and first albums 3 Career 3.1 Singing 3.2 Acting 4 Artistry 5 Personal life 5.1 Relationships and family 5.2 Name 5.3 Politics 6 Philanthropy 7 Legacy 7.1 Honors 7.2 Professional memberships 7.3 "Streisand effect" 8 Awards and nominations 9 Appearances 9.1 Filmography 9.2 Broadway performances 9.3 West End performances 9.4 Television specials 10 Tours 11 Discography 12 Autobiography 13 Notes 14 References 15 Further reading 16 External links Early life Family Streisand was born on April 24, 1942, in Brooklyn, New York City, the daughter of Diana (born Ida Rosen) and Emanuel Streisand. Her mother had been a soprano in her youth and considered a career in music, but later became a school secretary.[15] Her father was a high school teacher at the same school, where they first met.[16] Streisand's family was Jewish.[17][18][19] Her paternal grandparents emigrated from Galicia (Poland–Ukraine) and her maternal grandparents from the Russian Empire, where her grandfather had been a cantor.[20][21] In August 1943, a few months after Streisand's first birthday, her father died at age 34 from complications from an epileptic seizure, possibly the result of a head injury years earlier[22]:3 The family fell into near-poverty, with her mother working as a low-paid bookkeeper.[23] As an adult, Streisand remembered those early years as always feeling like an "outcast", explaining, "Everybody else's father came home from work at the end of the day. Mine didn't."[22]:3 Her mother tried to pay their bills but could not give her daughter the attention she craved: "When I wanted love from my mother, she gave me food," Streisand says.[22]:3 Streisand recalls that her mother had a "great voice" and sang semi-professionally on occasion. During a visit to the Catskills when Streisand was 13, she told Rosie O'Donnell, she and her mother recorded some songs on tape. That session was the first time Streisand ever asserted herself as an artist, which also became her "first moment of inspiration".[24] She has an older brother, Sheldon, and a half-sister, singer Roslyn Kind,[25][26][27] from her mother's remarriage to Louis Kind in 1949.[28][29] Education Streisand began her education at the Jewish Orthodox Yeshiva of Brooklyn when she was five.[30] She was considered bright and inquisitive about everything; however, she lacked discipline, often shouting answers to questions out of turn.[31][22]:3 She next entered Public School 89 in Brooklyn, and during those early school years began watching television and going to movies. "I always wanted to be somebody, to be famous ...You know, get out of Brooklyn."[22]:3 Streisand became known by others in the neighborhood for her voice. With the other kids she remembers sitting on the stoop in front of their apartment building and singing: "I was considered the girl on the block with the good voice."[22]:3 That talent became a way for her to gain attention. She would often practice her singing in the hallway of her apartment building which gave her voice an echoing quality.[32] She made her singing debut at a PTA assembly, where she became a hit to everyone but her mother, who was mostly critical of her daughter. Streisand was invited to sing at weddings and summer camp, along with having an unsuccessful audition at MGM records when she was nine. By the time she was 13, her mother began supporting her talent, helping her make a four-song demo tape, including "Zing! Went the Strings of My Heart", and "You'll Never Know".[22]:4 Becoming an actress was her main objective. That desire was made stronger when she saw her first Broadway play, The Diary of Anne Frank when she was 14. The star in the play was Susan Strasberg, whose acting she wanted to emulate.[22]:4 Streisand began spending her spare time in the library, studying the biographies of various stage actresses such as Eleanora Duse and Sarah Bernhardt. In addition, she began reading novels and plays and studying the acting theories of Konstantin Stanislavski and Michael Chekhov.[22]:4 She attended Erasmus Hall High School in Brooklyn in 1956 where she became an honor student in modern history, English, and Spanish. She also joined the Freshman Chorus and Choral Club, where she sang with another choir member and classmate, Neil Diamond.[33] Diamond recalls, "We were two poor kids in Brooklyn. We hung out in the front of Erasmus High and smoked cigarettes." The school was near an art-movie house, and he recalls that she was always aware of the films they were showing.[34] Also in her class at Erasmus Hall was Bobby Fischer, who was US Chess Champion by 1957.[35] During the summer of 1957, she got her first stage experience as a walk-on at the Playhouse in Malden Bridge, New York. That small part was followed by a role as the kid sister in Picnic and one as a vamp in Desk Set.[22]:4 In her second year, she took a night job at the Cherry Lane Theatre in Greenwich Village helping backstage. When she was a senior, she rehearsed for a small part in Driftwood, a play staged in a midtown attic space.[22]:5 She graduated, aged 16, from Erasmus Hall in January 1959, and despite her mother's pleas that she stay out of show business, she set out trying to get roles on the New York City stage.[22]:5 After renting a small apartment on 48th street in the heart of the theater district, she accepted any job she could involving the stage, and at every opportunity, she "made the rounds" of the casting offices.[22]:5 Career beginnings Streisand, c. 1962 Aged 16 and living on her own, Streisand took various menial jobs to have some income. During one period, she lacked a permanent address, and found herself sleeping at the home of friends or anywhere else she could set up the army cot she carried around. When desperate, she returned to her mother's flat in Brooklyn for a home-cooked meal. However, her mother was horrified by her daughter's "gypsy-like lifestyle", wrote biographer Karen Swenson, and again begged her to give up trying to get into show business,[22]:6 but Streisand took her mother's pleadings as even more reason to keep trying: "My desires were strengthened by wanting to prove to my mother that I could be a star."[22]:6 She took a job as an usher at the Lunt-Fontanne Theater for The Sound of Music early in 1960. During the run of the play, she heard that the casting director was auditioning for more singers, and it marked the first time she sang in pursuit of a job.[22]:6 Although the director felt she was not right for the part, he encouraged her to begin including her talent as a singer on her résumé when looking for other work.[22]:6 She asked her boyfriend, Barry Dennen, to tape her singing, copies of which she could then give out to possible employers. Dennen found a guitarist to accompany her: We spent the afternoon taping, and the moment I heard the first playback I went insane ... This nutty little kook had one of the most breathtaking voices I'd ever heard ... when she was finished and I turned off the machine, I needed a long moment before I dared look up at her.[22]:6 Dennen grew enthusiastic and he convinced her to enter a talent contest at the Lion, a gay nightclub in Manhattan's Greenwich Village. She performed two songs, after which there was a "stunned silence" from the audience, followed by "thunderous applause" when she was pronounced the winner.[22]:7 She was invited back and sang at the club for several weeks.[36] It was during this time that she dropped the second "a" from her first name,[36] switching from "Barbara" to "Barbra", due to her dislike of her original name.[37] Nightclub shows and Broadway stage Streisand was next asked to audition at the Bon Soir nightclub, after which she was signed up at $125 a week. It became her first professional engagement in September 1960, where she was the opening act for comedian Phyllis Diller. She recalls it was the first time she had been in that kind of upscale environment: "I'd never been in a nightclub until I sang in one."[22]:7 Dennen now wanted to expose Streisand to his vast record collection of female singers, including Billie Holiday, Mabel Mercer, Ethel Waters, and Édith Piaf. Streisand realized she could still become an actress by first gaining recognition as a singer.[22]:7 According to biographer Christopher Nickens, hearing other great female singers benefited her style, as she began creating different emotional characters when performing, which gave her singing a greater range. She improved her stage presence when speaking to the audience between songs. She discovered that her Brooklyn-bred style of humor was received favorably.[22]:8 During the next six months appearing at the club, some began comparing her singing voice to famous names such as Judy Garland, Lena Horne and Fanny Brice. Her conversational ability to charm an audience with spontaneous humor during performances became more sophisticated and professional.[22]:8 Theater critic Leonard Harris wrote: "She's twenty; by the time she's thirty she will have rewritten the record books."[22]:9 Her name is Barbra Streisand. She is 20 years old, she has a three-octave promiscuity of range, she packs more personal dynamic power than anybody I can recall since Libby Holman or Helen Morgan. She can sing as loud as Ethel Merman and as persuasively as Lena or Ella, or as brassy as a Sophie Tucker ... and only Barbra Streisand can turn "Cry Me a River" into something comparable to Enrico Caruso having his first bash at Pagliacci. When Streisand cries you a river, you got a river, Sam ... and she will be around 50 years from now if good songs are still written to be sung by good singers. —syndicated columnist Robert Ruark, on her 1963 performances at the Blue Angel.[38][39] Streisand accepted her first role on the New York stage in Another Evening with Harry Stoones, a satirical comedy play in which she acted and sang two solos. The show received terrible reviews and closed the next day. With the help of her new personal manager, Martin Erlichman, she had successful shows in Detroit and St. Louis. Erlichman then booked her at an even more upscale nightclub in Manhattan, the Blue Angel, where she became a bigger hit during the period from 1961 to 1962. Streisand once told Jimmy Fallon, with whom she sang a duet,[40] on the Tonight Show, that Erlichman was a "fantastic manager" and still managed her career after 50 years.[41] While appearing at the Blue Angel, theater director and playwright Arthur Laurents asked her to audition for a new musical comedy he was directing, I Can Get It for You Wholesale. She got the part of secretary to the lead actor businessman, played by then unknown Elliott Gould.[22]:9 They fell in love during rehearsals and eventually moved into a small apartment together. The show opened on March 22, 1962, at the Shubert Theater, and received rave reviews. Her performance "stopped the show cold", wrote Nickens.[22]:9[22]:10 Groucho Marx, while hosting the Tonight Show, told her that 20 was an "extremely young age to be a success on Broadway".[42] Streisand received a Tony nomination and New York Drama Critic's prize for Best Supporting Actress.[43] The show was recorded and made into an album.[22]:10 Television appearances, marriage and first albums Streisand in 1966 Streisand's first television appearance was on The Tonight Show, then credited to its usual host Jack Paar. She was seen during an April 1961 episode on which Orson Bean substituted for Paar. She sang Harold Arlen's "A Sleepin' Bee".[44] During her appearance, Phyllis Diller, also a guest on the show, called her "one of the great singing talents in the world."[45] Later in 1961, before she was cast in Another Evening With Harry Stoones, she became a semi-regular on PM East/PM West, a talk/variety series hosted by Mike Wallace and Joyce Davidson.[46] In early 1962 she went into the Columbia Records studio for the cast recording of I Can Get It for You Wholesale. Also that spring she participated in a 25th anniversary studio recording of Pins and Needles, the classic popular front musical originated in 1937 by the International Ladies' Garment Workers' Union. Reviews of both albums highlighted Streisand's performances.[47] In May 1962, Streisand appeared on The Garry Moore Show where she sang "Happy Days Are Here Again" for the first time. Her sad, slow version of the 1930s upbeat Democratic Party theme song became her signature song during this early phase of her career.[22]:10 Johnny Carson had her on the Tonight Show half a dozen times in 1962 and 1963, and she became a favorite of his television audience and himself personally. He described her as an "exciting new singer."[48] During one show, she joked with Groucho Marx who liked her style of humor.[22]:10 She did three or four songs, and she was beyond brilliant – so amazing. —Elliott Gould, about their first play together in 1961[49] In December 1962, she made the first of a number of appearances on The Ed Sullivan Show. She was later a cohost on the Mike Douglas Show, and also made an impact on a number of Bob Hope specials. Performing with her on The Ed Sullivan Show was Liberace who became an instant fan of the young singer. Liberace invited her to Las Vegas, Nevada, to perform as his opening act at the Riviera Hotel. Liberace is credited with introducing Barbra to audiences on the West Coast.[50] The following September during her ongoing shows at Harrah's Hotel in Lake Tahoe, she and Elliott Gould took time off to get married in Carson City, Nevada. With her career and popularity rising so quickly, she saw her marriage to Gould as a "stabilizing influence."[22]:11 Her first album, The Barbra Streisand Album in early 1963, made the top 10 on the Billboard chart and won three Grammy Awards.[22]:11 The album made her the best-selling female vocalist in the country.[22]:11 That summer she also released The Second Barbra Streisand Album, which established her as the "most exciting new personality since Elvis Presley."[22]:11 She ended that breakthrough year of 1963 by performing one-night concerts in Indianapolis, San Jose, Chicago, Sacramento, and Los Angeles.[22]:11 Streisand returned to Broadway in 1964 with an acclaimed performance as entertainer Fanny Brice in Funny Girl at the Winter Garden Theatre. The show introduced two of her signature songs, "People" and "Don't Rain on My Parade." Because of the play's overnight success, she appeared on the cover of Time. In 1964 Streisand was nominated for a Tony Award for Best Leading Actress in a Musical but lost to Carol Channing in Hello, Dolly! Streisand received an honorary "Star of the Decade" Tony Award in 1970.[51] In 1966, she repeated her success with Funny Girl in London's West End at the Prince of Wales Theatre. From 1965 to 1968 she appeared in her first four solo television specials. Career This section of a biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. Find sources: "Barbra Streisand" – news · newspapers · books · scholar · JSTOR (January 2017) (Learn how and when to remove this template message) Singing Streisand has recorded 50 studio albums, almost all with Columbia Records. Her early works in the 1960s (her debut The Barbra Streisand Album, The Second Barbra Streisand Album, The Third Album, My Name Is Barbra, etc.) are considered classic renditions of theatre and cabaret standards, including her pensive version of the normally uptempo "Happy Days Are Here Again". She performed this in a duet with Judy Garland on The Judy Garland Show. Garland referred to her on the air as one of the last great belters. They also sang "There's No Business Like Show Business" with Ethel Merman joining them.[52] On The Ed Sullivan Show in 1969 Beginning with My Name Is Barbra, her early albums were often medley-filled keepsakes of her television specials. Starting in 1969, she began attempting more contemporary material, but like many talented singers of the day, she found herself out of her element with rock. Her vocal talents prevailed, and she gained newfound success with the pop and ballad-oriented Richard Perry-produced album Stoney End in 1971. The title track, written by Laura Nyro, was a major hit for Streisand. During the 1970s, she was also highly prominent on the pop charts, with Top 10 recordings such as "The Way We Were" (US No. 1), "Evergreen (Love Theme from A Star Is Born)" (US No. 1), "No More Tears (Enough Is Enough)" (1979, with Donna Summer), which as of 2010 is reportedly still the most commercially successful duet, (US No. 1), "You Don't Bring Me Flowers" (with Neil Diamond) (US No. 1) and "The Main Event" (US No. 3), some of which came from soundtrack recordings of her films. As the 1970s ended, Streisand was named the most successful female singer in the U.S. – only Elvis Presley and The Beatles had sold more albums.[53] In 1980, she released her best-selling effort to date, the Barry Gibb-produced Guilty. The album contained the hits "Woman in Love" (which spent several weeks on top of the pop charts in the fall of 1980), "Guilty", and "What Kind of Fool". After years of largely ignoring Broadway and traditional pop music in favor of more contemporary material, Streisand returned to her musical-theater roots with 1985's The Broadway Album, which was unexpectedly successful, holding the coveted No. 1 Billboard position for three straight weeks, and being certified quadruple platinum. The album featured tunes by Rodgers and Hammerstein, George Gershwin, Jerome Kern, and Stephen Sondheim, who was persuaded to rework some of his songs especially for this recording. The Broadway Album was met with acclaim, including a Grammy nomination for album of the year and handed Streisand her eighth Grammy as Best Female Vocalist. After releasing the live album One Voice in 1986, Streisand was set to release another album of Broadway songs in 1988. She recorded several cuts for the album under the direction of Rupert Holmes, including "On My Own" (from Les Misérables), a medley of "How Are Things in Glocca Morra?" and "Heather on the Hill" (from Finian's Rainbow and Brigadoon, respectively), "All I Ask of You" (from The Phantom of the Opera), "Warm All Over" (from The Most Happy Fella) and an unusual solo version of "Make Our Garden Grow" (from Candide). Streisand was not happy with the direction of the project and it was scrapped. Only "Warm All Over" and a reworked, lite FM-friendly version of "All I Ask of You" were ever released, the latter appearing on Streisand's 1988 effort, Till I Loved You. At the beginning of the 1990s, Streisand started focusing on her film directorial efforts and became almost inactive in the recording studio. In 1991, a four-disc box set, Just for the Record, was released. A compilation spanning Streisand's entire career to date, it featured over 70 tracks of live performances, greatest hits, rarities and previously unreleased material. Streisand taping her TV Special Barbra Streisand ... and other Musical Instruments in 1973 The following year, Streisand's concert fundraising events helped propel President Bill Clinton into the spotlight and into office.[54] Streisand later introduced Clinton at his inauguration in 1993. Streisand's music career, however, was largely on hold. A 1992 appearance at an APLA benefit as well as the aforementioned inaugural performance hinted that Streisand was becoming more receptive to the idea of live performances. A tour was suggested, though Streisand would not immediately commit to it, citing her well-known stage fright as well as security concerns. During this time, Streisand finally returned to the recording studio and released Back to Broadway in June 1993. The album was not as universally lauded as its predecessor, but it did debut at No. 1 on the pop charts (a rare feat for an artist of Streisand's age, especially given that it relegated Janet Jackson's Janet to the No. 2 spot). One of the album's highlights was a medley of "I Have A Love" / "One Hand, One Heart", a duet with Johnny Mathis, who Streisand said is one of her favorite singers.[55][56] In 1993, The New York Times music critic Stephen Holden wrote that Streisand "enjoys a cultural status that only one other American entertainer, Frank Sinatra, has achieved in the last half century".[57] In September 1993, Streisand announced her first public concert appearances in 27 years (if one does not count her Las Vegas nightclub performances between 1969 and 1972). What began as a two-night New Year's event at the MGM Grand Las Vegas led to a multi-city tour in the summer of 1994. Tickets for the tour were sold out in under an hour. Streisand also appeared on the covers of major magazines in anticipation of what Time magazine named "The Music Event of the Century". The tour was one of the biggest all-media merchandise parlays in history. Ticket prices ranged from US$50 to US$1,500, making Streisand the highest-paid concert performer in history. Barbra Streisand: The Concert went on to be the top-grossing concert of the year and earned five Emmy Awards and the Peabody Award, while the taped broadcast on HBO was the highest-rated concert special in HBO's 30-year history. Following the tour's conclusion, Streisand once again kept a low profile musically, instead focusing her efforts on acting and directing duties as well as a burgeoning romance with actor James Brolin. In 1996, Streisand released "I Finally Found Someone" as a duet with Canadian singer and songwriter Bryan Adams. The song was nominated for an Oscar as it was part of the soundtrack of Streisand's self-directed movie The Mirror Has Two Faces. It reached #8 on the Billboard Hot 100, and was her first significant hit in almost a decade and her first top 10 hit on the Hot 100 (and first gold single) since 1981. In 1997, she finally returned to the recording studio, releasing Higher Ground, a collection of songs of a loosely inspirational nature which also featured a duet with Céline Dion. The album received generally favorable reviews and once again debuted at No. 1 on the pop charts. Following her marriage to Brolin in 1998, Streisand recorded an album of love songs entitled A Love Like Ours the following year. Reviews were mixed, with many critics complaining about the somewhat syrupy sentiments and overly-lush arrangements; however, it did produce a modest hit for Streisand in the country-tinged "If You Ever Leave Me", a duet with Vince Gill. On New Year's Eve 1999, Streisand returned to the concert stage, selling out in the first few hours, eight months before her return.[58] At the end of the millennium, she was the number one female singer in the U.S., with at least two No. 1 albums in each decade since she began performing. A two-disc live album of the concert entitled Timeless: Live in Concert was released in 2000. Streisand performed versions of the Timeless concert in Sydney and Melbourne, Australia, in early 2000. In advance of four concerts (two each in Los Angeles and New York) in September 2000, Streisand announced that she was retiring from playing public concerts. Her performance of the song "People" was broadcast on the Internet via America Online. Streisand's most recent albums have been Christmas Memories (2001), a somewhat somber collection of holiday songs, and The Movie Album (2003), featuring famous film themes and backed by a large symphony orchestra. Guilty Pleasures (called Guilty Too in the UK), a collaboration with Barry Gibb and a sequel to their Guilty, was released worldwide in 2005. Streisand performing in July 2007 at The O2 Arena in London In February 2006, Streisand recorded the song "Smile" alongside Tony Bennett at Streisand's Malibu home. The song is included on Bennett's 80th birthday album, Duets. In September 2006, the pair filmed a live performance of the song for a special directed by Rob Marshall entitled Tony Bennett: An American Classic. The special aired on NBC November 21, 2006, and was released on DVD the same day. Streisand's duet with Bennett opened the special. In 2006, Streisand announced her intent to tour again, in an effort to raise money and awareness for multiple issues. After four days of rehearsal at the Sovereign Bank Arena in Trenton, New Jersey, the tour began on October 4 at the Wachovia Center in Philadelphia, continued with a featured stop in Fort Lauderdale, Florida, (this was the concert Streisand chose to film for a TV special), and concluded at Staples Center in Los Angeles on November 20, 2006. Special guests Il Divo were interwoven throughout the show. The show was known as Streisand: The Tour. Streisand's 20-concert tour set box-office records. At the age of 64, she grossed $92,457,062 and set house gross records in 14 of the 16 arenas played on the tour. She set the third-place record for her show of October 9, 2006 at Madison Square Garden, the first- and second-place records, of which are held by her two shows in September 2000. She set the second-place record at MGM Grand Garden Arena with her December 31, 1999, show being the house record and highest-grossing concert of all time. This led many people to openly criticize Streisand for price gouging as many tickets sold for upwards of $1,000.[59] A collection of performances culled from different stops on this tour, Live in Concert 2006, debuted at No. 7 on the Billboard 200, making it Streisand's 29th Top 10 album.[60] In the summer of 2007, Streisand gave concerts for the first time in continental Europe. The first concert took place in Zürich (June 18), then Vienna (June 22), Paris (June 26), Berlin (June 30), Stockholm (July 4, canceled), Manchester (July 10) and Celbridge, near Dublin (July 14), followed by three concerts in London (July 18, 22 and 25), the only European city where Streisand had performed before 2007. Tickets for the London dates cost between £100.00 and £1,500.00, and for Ireland, between €118 and €500. The Ireland date was marred by issues with serious parking and seating problems leading to the event's being dubbed a fiasco by Hot Press.[61] The tour included a 58-piece orchestra. In February 2008, Forbes listed Streisand as the No.-2-earning female musician between June 2006 and June 2007 with earnings of about $60 million.[62] On November 17, 2008, Streisand returned to the studio to begin recording what would be her 63rd album[63] and it was announced that Diana Krall was producing the album.[64] Streisand is one of the recipients of the 2008 Kennedy Center Honors.[65] On December 7, 2008, she visited the White House as part of the ceremonies.[63] On April 25, 2009, CBS aired Streisand's latest television special, Streisand: Live in Concert, highlighting the featured stop from her 2006 North American tour in Fort Lauderdale, Florida. On September 26, 2009, Streisand performed a one-night-only show at the Village Vanguard in New York City's Greenwich Village.[66] This performance was later released on DVD as One Night Only: Barbra Streisand and Quartet at The Village Vanguard. On September 29, 2009, Streisand and Columbia Records released her newest studio album, Love is the Answer, produced by Diana Krall.[67] On October 2, 2009, Streisand made her British television performance debut with an interview on Friday Night with Jonathan Ross to promote the album. This album debuted at No. 1 on the Billboard 200 and registered her biggest weekly sales since 1997, making Streisand the only artist in history to achieve No. 1 albums in five different decades. On February 1, 2010, Streisand joined over 80 other artists in recording a new version of the 1985 charity single "We Are the World". Quincy Jones and Lionel Richie planned to release the new version to mark the 25th anniversary of its original recording. These plans changed, however, in view of the devastating earthquake that hit Haiti on January 12, 2010, and on February 12, the song, now called "We Are the World 25 for Haiti", made its debut as a charity single to support relief aid for the island nation. In 2011, Streisand sang "Somewhere" from the Broadway musical West Side Story, with child prodigy Jackie Evancho, on Evancho's album Dream with Me.[68] Streisand was honored as MusiCares Person of the Year on February 11, 2011, two days prior to the 53rd Annual Grammy Awards.[69] On October 11, 2012, Streisand gave a three-hour concert performance before a crowd of 18,000 as part of the ongoing inaugural events of Barclays Center (and part of her current Barbra Live tour) in Brooklyn (her first-ever public performance in her home borough). Streisand was joined onstage by trumpeter Chris Botti, Italian operatic trio Il Volo, and her son Jason Gould. The concert included musical tributes by Streisand to Donna Summer and Marvin Hamlisch, both of whom had died earlier in 2012. Confirmed attendees included Barbara Walters, Jimmy Fallon, Sting, Katie Couric, Woody Allen, Michael Douglas and New York City mayor Michael Bloomberg, as well as designers Calvin Klein, Donna Karan, Ralph Lauren and Michael Kors.[70][71] In June 2013 she gave two concerts in Bloomfield Stadium, Tel Aviv. Streisand is one of many singers who use teleprompters during their live performances. Streisand has defended her choice in using teleprompters to display lyrics and, sometimes, banter.[72] In September 2014,[73] she released Partners, a new album of duets that features collaborations with Elvis Presley, Andrea Bocelli, Stevie Wonder, Lionel Richie, Billy Joel, Babyface, Michael Bublé, Josh Groban, John Mayer, John Legend, Blake Shelton and Jason Gould. This album topped the Billboard 200 with sales of 196,000 copies in the first week, making Streisand the only recording artist to have a number-one album in each of the last six decades.[74] It was also certified gold in November 2014 and platinum in January 2015, thus becoming Streisand's 52nd gold and 31st Platinum album, more than any other female artist in history.[75] In May 2016, Streisand announced the upcoming album Encore: Movie Partners Sing Broadway to be released in August following a nine-city concert tour, Barbra: The Music, The Mem'ries, The Magic, including performances in Los Angeles, Las Vegas, Philadelphia, and a return to her hometown of Brooklyn.[76] In June 2018, Streisand confirmed she was working on an album titled Walls.[77] This album, a protest against the Trump administration, came out on November 2, 2018, just prior to the U.S. midterm election. A featured track in this album is "Don't Lie to Me."[78] In the New York Times she revealed that she wrote this song because Donald Trump's outrages were keeping her awake at night.[79] Acting Streisand in Hello, Dolly! (1969) Her first film was a reprise of her Broadway hit, Funny Girl (1968), an artistic and commercial success directed by Hollywood veteran William Wyler. Streisand won the 1968 Academy Award for Best Actress for the role,[80] sharing it with Katharine Hepburn (The Lion in Winter), the only time there has been a tie in this Oscar category.[81] Her next two movies were also based on musicals—Jerry Herman's Hello, Dolly!, directed by Gene Kelly (1969); and Alan Jay Lerner's and Burton Lane's On a Clear Day You Can See Forever, directed by Vincente Minnelli (1970)—while her fourth film was based on the Broadway play The Owl and the Pussycat (1970).[citation needed] During the 1970s, Streisand starred in several screwball comedies, including What's Up, Doc? (1972) and The Main Event (1979), both co-starring Ryan O'Neal, and For Pete's Sake (1974) with Michael Sarrazin. One of her most famous roles during this period was in the drama The Way We Were (1973) with Robert Redford, for which she received an Academy Award nomination as Best Actress. She earned her second Academy Award for Best Original Song (with lyricist Paul Williams) for the song "Evergreen", from A Star Is Born in 1976,[82] in which she also starred. Along with Paul Newman, Sidney Poitier and later Steve McQueen, Streisand formed First Artists Production Company in 1969 so actors could secure properties and develop movie projects for themselves. Streisand's initial outing with First Artists was Up the Sandbox (1972).[83] From 1969 to 1980, Streisand appeared in Top Ten Money Making Stars Poll, the annual motion picture exhibitors poll of Top 10 Box Office attractions a total of 10 times,[84] often as the only woman on the list. After the commercially disappointing All Night Long in 1981, Streisand's film output decreased considerably. She has acted in only eight films since. I'm impressed with her choosing Yentl; it was extraordinary. But for some reason, Hollywood turned against her ... there was a lack of sympathy toward her ... Christ, she could have played Cleopatra better than Liz Taylor, with her enormous power and the subtlety of her singing ... She is one of the great actresses and she hasn't been well used. —director John Huston, Playboy interview, 1985[85] Streisand produced a number of her own films, setting up Barwood Films in 1972. The first film she made, Yentl (1983), was turned down by every Hollywood studio at least once when she asked to not only direct the picture, but also to star in the film, until Orion Pictures took on the project and gave the film a budget of $14 million.[86] For Yentl (1983), she was producer, director, and star, an experience she repeated for The Prince of Tides (1991) and The Mirror Has Two Faces (1996). There was controversy when Yentl received five Academy Award nominations, but none for the major categories of Best Picture, actress, or Director.[87] The Prince of Tides received even more Oscar nominations, including Best Picture and Best Screenplay, although not for director. Upon completion of the film, its screenwriter, Pat Conroy, who also authored the novel, called Streisand "a goddess who walks upon the earth."[22]:xii Streisand also co-scripted Yentl (with Jack Rosenthal), something for which she is not always given credit.[88] According to The New York Times editorial page editor Andrew Rosenthal in an interview with Allan Wolper, "The one thing that makes Barbra Streisand crazy is when nobody gives her the credit for having written Yentl."[89] In 2004, Streisand made a return to film acting after an eight-year hiatus, in the comedy Meet the Fockers (a sequel to Meet the Parents), playing opposite Dustin Hoffman, Ben Stiller, Blythe Danner and Robert De Niro. Streisand in On a Clear Day You Can See Forever (1970) In 2005, Streisand's Barwood Films, Gary Smith, and Sonny Murray purchased the rights to Simon Mawer's book Mendel's Dwarf.[90] In December 2008, she stated that she was considering directing an adaptation of Larry Kramer's play The Normal Heart, a project she has worked on since the mid-1990s.[91] In December 2010, Streisand appeared in Little Fockers, the third film from the Meet the Parents trilogy. She reprised the role of Roz Focker alongside Dustin Hoffman. On January 28, 2011, The Hollywood Reporter announced that Paramount Pictures had given the green light to begin shooting the road-trip comedy My Mother's Curse, with Seth Rogen playing Streisand's character's son. Anne Fletcher directed the project with a script by Dan Fogelman, produced by Lorne Michaels, John Goldwyn, and Evan Goldberg. Executive producers included Streisand, Rogen, Fogelman, and David Ellison, whose Skydance Productions co-financed the road movie.[92] Shooting began in spring 2011 and wrapped in July; the film's title was eventually altered to The Guilt Trip, and the movie was released in December 2012. Streisand has been set to star in a film adaptation of the musical Gypsy – featuring music by Jules Styne, a book by Arthur Laurents and lyrics by Stephen Sondheim – with Richard LaGravenese reportedly attached to the project as screenwriter.[93] In April 2016, it was reported that Streisand was in advanced negotiations to star in and produce the film, which will be directed by Barry Levinson and distributed by STX Entertainment.[94] Two months later, the film's script had been completed and production was scheduled to begin in early 2017.[95] In 2015 plans emerged for Streisand to direct a feature biopic about the 18th-century Russian empress Catherine the Great based on the top 2014 Black List script produced by Gil Netter[96] with Keira Knightley starring.[97] As of 2020 nothing has come out of these plans. Artistry Streisand possesses a mezzo-soprano vocal range,[98][99] which Howard Cohen of the Miami Herald describes as "peerless".[99] Whitney Balliett wrote, "Streisand wows her listeners with her shrewd dynamics (in-your-ear soft here, elbowing-loud there), her bravura climbs, her rolling vibrato, and the singular Streisand-from-Brooklyn nasal quality of her voice – a voice as immediately recognizable in its way as Louis Armstrong's."[100] Music writer Allegra Rossi adds that Streisand creates complete compositions in her head: Even though she can't read or write music, Barbra hears melodies as completed compositions in her head. She hears a melody and takes it in, learning it quickly. Barbra developed her ability to sustain long notes because she wanted to. She can mold a tune that others cannot; she's able to sing between song and speech, keeping in tune, carrying rhythm and meaning.[32][a] While she is predominantly a pop singer, Streisand's voice has been described as "semi-operatic" due to its strength and quality of tone.[102] According to Adam Feldman of Time Out, Streisand's "signature vocal style" is "a suspension bridge between old-school belting and microphone pop."[103] She is known for her ability to hold relatively high notes, both loud and soft, with great intensity, as well as for her ability to make slight but unobtrusive embellishments on a melodic line. The former quality led classical pianist Glenn Gould to call himself "a Streisand freak".[104] In recent years, critics and audiences have noted that her voice has "lowered and acquired an occasionally husky edge". However, New York Times music critic Stephen Holden noted that her distinctive tone and musical instincts remain, and that she still "has the gift of conveying a primal human longing in a beautiful sound".[102] Paul Taylor of The Independent wrote that Streisand "has sounded a little scratchy and frayed, though the stout resolve and superb technique with which Streisand manages to hoist it over these difficulties has come to seem morally as well aesthetically impressive."[105] Reviewing Streisand's most recent studio effort Partners, Gil Naveh of Haaretz described Streisand's voice as "velvety, clear and powerful ... and the passing years have given it a fascinating depth and roughness."[106] Personal life Relationships and family Streisand with husband Elliott Gould and son Jason (1967) With James Brolin (2013) Streisand has been married twice. Her first husband was actor Elliott Gould, whom she married on September 13, 1963. They announced their separation on February 12, 1969 and divorced on July 6, 1971. They had one child, Jason Gould, who appeared as her on-screen son in The Prince of Tides. In 1969 and 1970, Streisand dated Canadian Prime Minister Pierre Trudeau.[107][108][109] She started a relationship with hairdresser/producer Jon Peters in 1973.[110] He went on to be her manager and producer. They broke up in 1982 during the making of Yentl, but remain friends. She is the godmother of his daughters, Caleigh Peters and Skye Peters.[111] From November 1983 to October 1987, Streisand lived with Baskin-Robbins ice cream heir Richard Baskin,[112] who wrote the lyrics to "Here We Are At Last" on her 1984 album Emotion. She dated actor Don Johnson from December 1987 through at least September 1988.[113][114] The pair recorded a duet of "Till I Loved You". In 1983 and 1989, respectively, Streisand briefly dated actors Richard Gere[115] and Clint Eastwood.[116] From 1989 to 1991, she was involved with composer James Newton Howard.[117] Streisand dated tennis champion Andre Agassi from 1992 to 1993. Writing about the relationship in his 2009 autobiography, Agassi said: "We agree that we're good for each other, and so what if she's twenty-eight years older? We're simpatico, and the public outcry only adds spice to our connection. It makes our friendship feel forbidden, taboo – another piece of my overall rebellion. Dating Barbra Streisand is like wearing Hot Lava."[118] During the early to mid-1990s, Streisand was in romantic relationships with several high-profile men, including newscaster Peter Jennings[119] as well as actors Liam Neeson,[120] Jon Voight[121] and Peter Weller.[122] She is reputed to have had liaisons with U.S. President Bill Clinton,[123][124] Prince Charles,[125][126] and Dodi Fayed.[127][128] Her second husband is actor James Brolin, whom she married on July 1, 1998.[129] While they have no children together, Brolin has two sons from his first marriage, including actor Josh Brolin, and one daughter from his second marriage.[130][131] Streisand is the owner of multiple dogs, and she loved her dog Samantha so much, that she had her cloned.[132] In March 2019, Streisand apologized for her controversial statements about Michael Jackson's accusers.[133] Name Streisand changed her name from "Barbara" to "Barbra" because, she said, "I hated the name, but I refused to change it."[134] Streisand further explained, "Well, I was 18 and I wanted to be unique, but I didn't want to change my name because that was too false. You know, people were saying you could be Joanie Sands, or something like that. (My middle name is Joan.) And I said, 'No, let's see, if I take out the 'a,' it's still 'Barbara,' but it's unique."[135] A 1967 biography with a concert program said, "the spelling of her first name is an instance of partial rebellion: she was advised to change her last name and retaliated by dropping an "a" from the first instead."[136] Politics In the early years of her career, Streisand's interest in politics was limited, with the exception of her participation in activities of the anti-nuclear group Women Strike for Peace in 1961 and 1962.[137] In July 1968, with Harry Belafonte and others, she performed at the Hollywood Bowl in a fundraising concert sponsored by the Southern Christian Leadership Conference.[138] Streisand has long been an active supporter of the Democratic Party and many of its causes. She was among the celebrities on President Richard Nixon's 1971 list of political enemies.[139] In 1995 Streisand spoke at Harvard's John F. Kennedy School of Government about the role of the artist as citizen, in support of arts programs and funding.[140][141] Streisand is a supporter of gay rights and backed the "No on 8" campaign in an unsuccessful attempt to defeat California Proposition 8.[142] In 2012, Streisand stated, "The new laws requiring U.S. citizens to produce photo IDs at the poll are designed to deprive elderly and minority citizens of the precious right to cast their vote. These regressive laws are themselves the most dangerous voter fraud threatening American democracy."[143] Streisand continued her voter rights advocacy in 2020, tweeting a link to VoteRiders, a nonprofit that assists citizens with obtaining voter ID.[144] In June 2013, she helped celebrate the 90th birthday of Shimon Peres held at Jerusalem's international convention center.[145] She also performed at two other concerts in Tel Aviv that same week, part of her first concert tour of Israel.[146] In January 2017, she participated in 2017 Women's March in Los Angeles. Introduced by Rufus Wainwright, Streisand appeared on stage and made a speech.[147] In an October 2018 interview with Emma Brockes of The Guardian, Streisand discussed the theme of her new album Walls: the danger she believed President Donald Trump posed towards the United States. She said, "This is a dangerous time in this nation, this republic: a man who is corrupt and indecent and is assaulting our institutions. It's really, really frightening. And I just pray that people who are compassionate and respect the truth will come out and vote. I'm saying more than just vote. Vote for Democrats!"[148] Philanthropy In 1984, Streisand donated the Emanuel Streisand Building for Jewish Studies to the Hebrew University of Jerusalem, in the Mount Scopus campus, in memory of her father, an educator and scholar who died when she was young.[149][150][151] Streisand has personally raised $25 million[152] for organizations through her live performances. The Streisand Foundation,[153] established in 1986, has contributed over $16 million through nearly 1,000 grants to "national organizations working on preservation of the environment, voter education, the protection of civil liberties and civil rights, women's issues[154] and nuclear disarmament".[155] In 2006, Streisand donated $1 million to the William J. Clinton Foundation in support of former President Bill Clinton's climate change initiative.[156] In 2009, Streisand gifted $5 million to endow the Barbra Streisand Women's Cardiovascular Research and Education Program at Cedars-Sinai Medical Center's Women's Heart Center.[157] In September that year, Parade magazine included Streisand on its Giving Back Fund's second annual Giving Back 30 survey, "a ranking of the celebrities who have made the largest donations to charity in 2007 according to public records",[158] as the third most generous celebrity. The Giving Back Fund claimed Streisand donated $11 million, which The Streisand Foundation distributed. In 2012 she raised $22 million to support her women's cardiovascular center, bringing her own personal contribution to $10 million. The program was officially named the Barbra Streisand Women's Heart Center.[159] At Julien's Auctions in October 2009, Streisand, a longtime collector of art and furniture, sold 526 items, with all the proceeds going to her foundation. Items included a costume from Funny Lady and a vintage dental cabinet purchased by the performer at 18 years old. The sale's most valuable lot was a painting by Kees van Dongen.[160] In December 2011, she appeared at a fundraising gala for Israel Defense Forces charities.[161] In June 2020, she gifted George Floyd's daughter, Gianna Floyd, Disney shares.[162] Legacy Honors Streisand was presented Distinguished Merit Award by Mademoiselle in 1964, and selected as Miss Ziegfeld in 1965. In 1968, she received the Israel Freedom Medal, the highest civilian award of Israel, and she was awarded Pied Piper Award by ASCAP and Prix De L'Academie Charles Cros in 1969, Crystal Apple by her hometown City of New York, Woman of Achievement in the Arts by Anti-Defamation League in 1978. In 1984, Streisand was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.[163] She received the Woman of Courage Award by the National Organization for Women (NOW), the Ordre des Arts et des Lettres[164] and Scopus Award by American Friends of The Hebrew University. She received Breakthrough Awards for "making films that portray women with serious complexity" at the Women, Men and Media symposium in 1991.[165] In 1992, she was given the Commitment to Life Award by AIDS Project Los Angeles(APLA), and the Bill of Rights Award by the American Civil Liberties Union of Southern California, the Dorothy Arzner Special Recognition by Women in Film, and the Golden Plate by the Academy of Achievement. She was honored with the Harry Chapin Humanitarian Award from the ASCAP in 1994 and the Peabody Award in 1995, the same year she was accorded an Honorary Doctorate in Arts and Humanities by Brandeis University.[164] She was also awarded Filmmaker of the Year Award for "lifetime achievement in filmmaking" by ShowEast and Peabody Award in 1996, Christopher Award in 1998. In 2000, President Bill Clinton presented Streisand with the National Medal of Arts, the highest honor specifically given for achievement in the arts,[166] and Library of Congress Living Legend, she also received the highest honor for a career in film AFI Life Achievement Award from American Film Institute and Liberty and Justice Award from Rainbow/PUSH Coalition, Gracie Allen Award, First Annual Jewish Image Awards in 2001, and Humanitarian Award "for her years of leadership, vision, and activism in the fight for civil liberties, including religion, race, gender equality and freedom of speech, as well as all aspects of gay rights" from Human Rights Campaign in 2004. In 2007, French President Nicolas Sarkozy presented Streisand with Legion of Honour, the highest decoration in France, and President George W. Bush presented her Kennedy Center Honors, the highest recognition of cultural achievement. In 2011, she was given Board of Governors Humanitarian Award for her efforts on behalf of women's heart health and her many other philanthropic activities." by Cedars-Sinai Heart Institute. She received the L'Oréal Paris Legend Award in 18th Elle Magazine Women in Hollywood. In 2012, she received a Lifetime Achievement Award from the Women Film Critics Circle. She was accorded an Honorary Doctorate of Philosophy by the Hebrew University of Jerusalem in 2013. In that year, she was also recipient of the Charlie Chaplin Award for Lifetime Achievement by the Film Society of Lincoln Center as the only female artist to direct, write, produce and star in the same major studio film, Yentl,[167] along with a Lifetime Achievement Glamour Awards.[168] In 2014, Streisand was on one of eight different New York Magazine covers celebrating the magazine's "100 Years, 100 Songs, 100 Nights: A Century of Pop Music in New York". She also received the American Society of Cinematographers (ASC) Board of Governors Award,[citation needed] the Sherry Lansing Leadership Award at The Hollywood Reporter's annual Women in Entertainment Breakfast,[169] and came first in the 1010 Wins Iconic Celebrity Poll by CBS in 2015.[164] In November 2015, President Barack Obama announced that Streisand would receive the Presidential Medal of Freedom, the highest civilian award of the United States.[170] Streisand was inducted into and Hollywood Walk of Fame in 1976, Goldmine Hall of Fame in 2002,[171] Long Island Music Hall of Fame in 2007,[172] the Hit Parade Hall of Fame in 2009,[173] National Museum of American Jewish History and California Hall of Fame in 2010.[164] In 1970, she received a Special Tony Award named "Star of the Decade", and was selected "Star of the Decade" by the National Association of Theatre Owners (NATO) in 1980, "Star of Decade" by NATO/ShowWest and President's Award by NARM in 1988. That year she was also named as All-Time Favorite Musical Performer by People's Choice Awards. In 1986, Life named her as one of "Five Hollywood's Most Powerful Women".[174] In 1998, Harris Poll reported that she is the "Most Popular Singer Among Adult Americans of All Ages." She was also featured on VH1's 100 Greatest Women of Rock N Roll,[175] Top 100 Singers of all time by Mojo magazine,[176] named the century's best female singer in a Reuters/Zogby poll, and "Top Female Artist of the Century" by Recording Industry Association of America in 1999.[177][178] In 2006, Streisand was one of honorees at Oprah Winfrey's white-tie Legends Ball.[179] In 2015, The Daily Telegraph ranked Streisand as one of the 10 top female singer-songwriters of all time.[180] A&E's Biography magazine ranked Streisand as one of their favorite leading actress of all time,[181] she was also featured on the Voices of the Century list by BBC,[182] the "100 Greatest Movie Stars of Time" list compiled by People,[183] VH1's list of the "200 Greatest Pop Culture Icons of All Time",[184] the "100 Greatest Entertainers of All Time", "ranked at #13" and the "Greatest Movie Star of all time list" by Entertainment Weekly,[175] "The 50 Greatest Actresses of All Tim" by AMC,[185] and Billboard Hot 100 All-Time Top Artists.[186] Billboard also ranked Streisand as the top female Jewish musician of all time.[187] As a gay icon, Streisand was named by The Advocate as one of the "25 Coolest Women" and the "9 Coolest Women Appealing to Both Lesbians and Gay Men",[188] and was also placed among the "12 Greatest Female Gay Icons of All Time" by Out magazine.[189] She was recognized as one of the top gay icons of the past three decades by Gay Times.[190] During the first decade of the 21st century, the American Film Institute celebrated 100 years of the greatest films in American cinema. Four of Streisand's songs were represented on AFI's 100 Years ... 100 Songs, which highlighted "America's Greatest Music in the Movies": "The Way We Were" at #8, "Evergreen (Love Theme From A Star Is Born)" at # 16, "People" at #13, and "Don't Rain on My Parade" at #46. Many of her films were represented on AFI's 100 Years ... series. AFI's 100 Years ... 100 Laughs, highlighting "the films and film artists that have made audiences laugh throughout the century," ranked What's Up, Doc? at #61. AFI's 100 Years ... 100 Passions highlighted the top 100 greatest love stories in American cinema and placed The Way We Were at #8, Funny Girl at #41, and What's Up, Doc? at #68. AFI's Greatest Movie Musicals highlighted the 25 greatest American movie musicals, ranking Funny Girl at #16.[citation needed] In December 2016, the film Funny Girl was marked for preservation by the Library of Congress in the National Film Registry.[191] In March 2017, the song "People" was selected for preservation in the National Recording Registry. Streisand said she was humbled to have the song honored "as part of the flow of our nation's culture."[192] Professional memberships As one of the most acclaimed actresses, singers, directors, writers, composers, producers, designers, photographers and activists in every medium that she's worked in, Streisand is the only artist who is concurrently a member of the American Society of Composers, Authors and Publishers, Screen Actors Guild, American Federation of Television and Radio Artists, Academy of Motion Pictures Arts and Sciences and Actors' Equity Association, as well as the honorary chairwoman of the board of directors of Hadassah's International Research Institute on Women.[193] "Streisand effect" Main article: Streisand effect In a 2003 lawsuit, Streisand claimed that a website illustrating coastal erosion invaded her privacy because one of its 12,000 images happened to show her Malibu, California home; Streisand wanted the photo removed from the site. The suit was dismissed and the resultant publicity prompted hundreds of thousands of people to download the photo, which had been accessed only four times prior to Streisand initiating legal action.[194][195] The term Streisand effect was coined to refer to an attempt to censor information which unintentionally publicizes that information.[196] Awards and nominations Main article: List of awards and nominations received by Barbra Streisand Streisand has been nominated 43 times for a Grammy Award, winning eight. In addition, she has received two special non-competitive awards; the 1992 Grammy Legend Award and the 1994 Grammy Lifetime Achievement Award. She has also been inducted into the Grammy Hall of Fame four times. In 2011, she was honored as MusiCares Person of the Year by the Grammy Foundation for her artistic achievement in the music industry. Appearances Filmography Year Title Role Notes 1968 Funny Girl Fanny Brice 1969 Hello, Dolly! Dolly Levi 1970 On a Clear Day You Can See Forever Daisy Gamble / Melinda Tentrees The Owl and the Pussycat Doris Wilgus/Wadsworth/Wellington/Waverly 1972 What's Up, Doc? Judy Maxwell Up the Sandbox Margaret Reynolds 1973 The Way We Were Katie Morosky 1974 For Pete's Sake Henrietta "Henry" Robbins 1975 Funny Lady Fanny Brice 1976 A Star Is Born Esther Hoffman Howard 1979 The Main Event Hillary Kramer 1981 All Night Long Cheryl Gibbons 1983 Yentl Yentl Mendel / Anshel Mendel Also director, producer, and co-writer 1987 Nuts Claudia Faith Draper 1991 The Prince of Tides Dr. Susan Lowenstein Also director and producer 1996 The Mirror Has Two Faces Rose Morgan Also director and producer 2004 Meet the Fockers Rozalin "Roz" Focker 2010 Little Fockers Rozalin "Roz" Focker 2012 The Guilt Trip Joyce Brewster Broadway performances Year Title Notes 1961–1963 I Can Get It for You Wholesale Nominated—Tony Award for Best Performance by a Featured Actress in a Musical 1964–1965 Funny Girl Nominated—Tony Award for Best Leading Actress in a Musical West End performances Year Title Notes 1966 Funny Girl April 13, 1966 – July 16, 1966 at the Prince of Wales Theatre, London. Television specials Year Title Notes 1965 My Name Is Barbra Aired on CBS April 28, 1965 1966 Color Me Barbra Aired on CBS March 30, 1966 1967 The Belle of 14th Street Aired on CBS October 11, 1967 1968 A Happening in Central Park Recorded June 17, 1967; CBS telecast delayed until Sept. 15, 1968 to coincide with release of Funny Girl 1973 Barbra Streisand ... And Other Musical Instruments Aired on CBS November 2, 1973 1975 Funny Girl to Funny Lady Aired on ABC 1976 Barbra: With One More Look at You 1978 Getting in Shape for The Main Event 1983 A Film Is Born: The Making of 'Yentl' 1986 Putting it Together: The Making of The Broadway Album 1986 One Voice 1994 Barbra Streisand: The Concert Also producer and director 2001 Barbra Streisand: Timeless Aired on FOX February 14, 2001 (1 hour edited version) 2009 Streisand: Live in Concert Aired on CBS April 25, 2009[197] (Filmed in Florida in 2006) 2011 Barbra Streisand: One Night Only at The Village Vanguard Aired on PBS, premiered on August 6, 2011 2013 Barbra Streisand: Back to Brooklyn Aired on PBS, premiered on November 29, 2013 2017 The Music ... The Mem'ries ... The Magic! Aired on Netflix, premiered November 22, 2017 Tours Year Title Continents Box-office proceeds Total audience 1966 An Evening with Barbra Streisand Tour North America $480,000 67,500 1993–1994 Barbra Streisand in Concert North America and Europe $50 million 400,000 1999–2000 Timeless North America and Australia $70 million 200,000 2006–2007 Streisand North America and Europe $119.5 million 425,000 2012–2013 Barbra Live North America and Europe $66 million 254,958 2016–2017 Barbra: The Music, The Mem'ries, The Magic North America $53 million 203,423 Discography Main article: Barbra Streisand discography The Barbra Streisand Album (1963) The Second Barbra Streisand Album (1963) The Third Album (1964) People (1964) My Name Is Barbra (1965) My Name Is Barbra, Two... (1965) Color Me Barbra (1966) Je m'appelle Barbra (1966) Simply Streisand (1967) A Christmas Album (1967) What About Today? (1969) Stoney End (1971) Barbra Joan Streisand (1971) Barbra Streisand...and Other Musical Instruments (1973) The Way We Were (1974) ButterFly (1974) Lazy Afternoon (1975) Classical Barbra (1976) Superman (1977) Songbird (1978) Wet (1979) Guilty (1980) Emotion (1984) The Broadway Album (1985) Till I Loved You (1988) Back to Broadway (1993) Higher Ground (1997) A Love Like Ours (1999) Christmas Memories (2001) The Movie Album (2003) Guilty Pleasures (2005) Love Is the Answer (2009) What Matters Most (2011) Partners (2014) Encore: Movie Partners Sing Broadway (2016) Walls (2018) Autobiography Streisand has stated she is writing her autobiography but has stopped and started at various points.[198] In May 2015, Viking Press announced it had bought Streisand's memoirs, which will cover her entire life and career, and would publish it in 2017.[199] As of 2020, the book remains unpublished.[200]
Barbra Streisand, original name Barbara Joan Streisand, (born April 24, 1942, Brooklyn, New York, U.S.), American singer, composer, actress, director, and producer who was considered by many to be the greatest popular singer of her generation. The first major female star to command roles as a Jewish actress, Streisand redefined female stardom in the 1960s and ’70s with her sensitive portrayal of ethnic urban characters. Her immense popularity matched only by her outspokenness, she became one of the most powerful women in show business, noted for her liberal politics and her philanthropy. Barbra Streisand QUICK FACTS Barbra Streisand View Media Page BORN April 24, 1942 (age 79) New York City, New York NOTABLE WORKS “Yentl” “The Mirror Has Two Faces” “The Prince of Tides” “Walls” AWARDS AND HONORS Presidential Medal Of Freedom (2015) Kennedy Center Honors (2008) Grammy Award (1986) Grammy Award (1980) Grammy Award (1977) Academy Award (1977) Academy Award (1969) Emmy Award (1965) Grammy Award (1965) Grammy Award (1964) RELATED FACTS AND DATA Neve Campbell - Facts Macaulay Culkin - Facts Yalitza Aparicio - Facts View Facts & Data Initially aspiring to be a dramatic actress, Streisand joined a summer theatre group in Malden Bridge, New York, and began studying acting while still in high school. After graduation she moved to Manhattan, where her first break came in 1960 when she sang at a small local nightclub and won an amateur talent contest (and dropped the second a from her first name). Following singing engagements in Greenwich Village cabarets, she landed a small comic role as Miss Marmelstein in the Broadway musical I Can Get It for You Wholesale (1962) and stole the show. An immediate sensation, she made frequent television appearances, notably on The Judy Garland Show, and, beginning in 1963, released a series of best-selling record albums that featured vibrant and original interpretations of popular songs. Her first solo album, The Barbra Streisand Album, won Grammy Awards for album of the year and best female vocal performance—the first two of many. BRITANNICA EXPLORES 100 WOMEN TRAILBLAZERS Meet extraordinary women who dared to bring gender equality and other issues to the forefront. From overcoming oppression, to breaking rules, to reimagining the world or waging a rebellion, these women of history have a story to tell. Streisand established herself as a major Broadway star in the career-making role of Fanny Brice in the musical Funny Girl (1964). In 1965 she won two Emmy Awards for My Name Is Barbra, the first of a series of tremendously successful television specials. She made her movie debut in 1968 in an Academy Award-winning reprise of her role as Fanny Brice. Although Funny Girl portrays Brice’s life, not Streisand’s, it established many enduring elements of Streisand’s screen image, including her transition from an awkward ugly duckling to a stylish, sophisticated star, her Jewish origins, and her persistence and determination. Her self-deprecating opening line (“Hello, gorgeous,” said into a mirror) and her first solo number (“I’m the Greatest Star”) underscored the fact that Streisand had succeeded despite widespread early opinion that her unconventional looks would keep her from becoming a major movie star. Barbra Streisand in Funny Girl (1968). Barbra Streisand in Funny Girl (1968). © 1968 Columbia Pictures Corporation; photograph from a private collection Streisand starred in several film musicals in the 1960s and ’70s, including Funny Lady (1975), the sequel to Funny Girl, as well as Hello, Dolly! (1969), On a Clear Day You Can See Forever (1970), and A Star Is Born (1976). She played screwball heroines in such comedies as The Owl and the Pussycat (1970) and What’s Up, Doc? (1972) and the romantic lead in the enormously popular The Way We Were (1973). She made her directorial debut in 1983 with Yentl, based on a story by Isaac Bashevis Singer about a young woman who pretends to be a man in order to continue her studies. Streisand starred in the title role—which she had wanted to play since 1968—as well as cowriting and coproducing the movie. She concentrated on straight dramatic roles in Nuts (1987), The Prince of Tides (1991), and The Mirror Has Two Faces (1996); the last two she also directed. However, she subsequently appeared in the broad comedies Meet the Fockers (2004), Little Fockers (2010), and The Guilt Trip (2012). Despite the seeming variety, most of Streisand’s characters share the qualities of strength and fierce independence combined with vulnerability. scene from Funny Girl scene from Funny Girl Barbra Streisand and Omar Sharif in Funny Girl (1968), directed by William Wyler. © Columbia Pictures Corporation Michael Crawford and Barbra Streisand in Hello, Dolly! (1969). Michael Crawford and Barbra Streisand in Hello, Dolly! (1969). © 1969 Twentieth Century-Fox Film Corporation; photograph from a private collection Streisand, Barbra Streisand, Barbra Barbra Streisand in Yentl (1983). Metro-Goldwyn-Mayer Inc. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now Although admired as a filmmaker, Streisand inspired perhaps even greater devotion from her fans as a singer. In addition to the albums featuring the sound tracks from her films and television specials, her most popular recordings included The Barbra Streisand Album (1963), The Second Barbra Streisand Album (1963), The Third Album (1964), People (1964), Je m’appelle Barbra (1966), Stoney End (1971), Streisand Superman (1977), Guilty (1980), The Broadway Album (1985), Higher Ground (1997), and Love Is the Answer (2009). She avoided performing live for several years, but in the 1990s she appeared in a series of live concerts that broke box office sales records. Streisand remained in the public eye well into the 21st century, continuing to perform in concert and releasing albums, among them the duets albums Partners (2014) and Encore: Movie Partners Sing Broadway (2016). In Walls (2018) she sang about various topical issues and was critical of U.S. Pres. Donald Trump. Streisand’s numerous accolades included an award from the Recording Academy for lifetime achievement (1995) and a medal from the French Legion of Honour (2007). She accepted a Kennedy Center Honor in 2008, and in 2015 she received the Presidential Medal of Freedom. MALIBU, Calif. — Barbra Streisand — whose coming album of duets, “Encore: Movie Partners Sing Broadway,” features a stellar supporting cast that includes Melissa McCarthy and Jamie Foxx — is talking about another duet with another celebrated singer, now long dead. That would be Judy Garland, whose television show Ms. Streisand visited in 1963 in what feels like a watershed moment in the history of fabled American vocalists. In the course of my recent afternoon-long visit with Ms. Streisand at her cloistered estate here, she says several times that she doesn’t like revisiting her past. But since she’s been researching a memoir, she’s in a more retrospective state of mind than usual. And before the afternoon is over, she will take me on a circuitous tour of her long life in the spotlight, with frequent side trips into the persistent problems of being Barbra. Ms. Streisand, you see, has always been in charge — of her image, of her career and, whenever possible, of her immediate environment — ever since she started singing in Greenwich Village nightclubs as a gawky teenager in thrift-shop clothes in the early 1960s. It is a determination that has made her one of the most enduring — and adored and disliked — of all American stars. It is also why she seems unlikely to retreat entirely behind the iron gates of the estate she says is the one place she is entirely comfortable. She needs to make sure that the version of Barbra that the world knows — onscreen, in recordings, in biographies — is the version she sees, as exactly as possible. Unlike many female stars of her generation and stature, she has rarely ceded control to any manager, or mate, or Svengali. ImageBarbra Streisand with Judy Garland on “The Judy Garland Show” in 1963. Barbra Streisand with Judy Garland on “The Judy Garland Show” in 1963. Which brings us back to the subject of Garland, a singer with whom Ms. Streisand has been tellingly compared and contrasted over the years. Ms. Streisand was barely into her 20s when they met, but already on the cusp of astronomical stardom; Garland, 41, would be dead six years later, one of Hollywood’s most notorious casualties of devouring fame. Yet when they sang two American standards in counterpoint — “Happy Days Are Here Again” (Ms. Streisand) and “Get Happy” (Garland) — they seemed like a matched set. Each interpreted an upbeat song with a big, trumpeting voice that nonetheless hinted at a small, solitary figure within. Happiness, as hymned in these renditions, would never be won easily. You can find that video on YouTube, and it is impossible to watch it without shivering. “Afterward, she used to visit me and give me advice,” Ms. Streisand says. “She came to my apartment in New York, and she said to me, ‘Don’t let them do to you what they did to me.’ I didn’t know what she meant then. I was just getting started.” Whoever “they” were — studio moguls, a voyeuristic press, parasitic hangers-on, cannibalistic fans — it was never likely that they could do to Ms. Streisand what they did to Garland. From the earliest days of her career, Ms. Streisand exuded a Garlandesque fragility and emotional openness. But her long nails and close-set eyes, both quizzical and confrontational, spoke of the toughness of someone singularly capable of protecting herself. Both sides of that dichotomy are still very much in evidence when I visit Ms. Streisand at her estate here, a compound of three main buildings that evoke a fantasy New England, incongruously situated above the glittering expanse of the Pacific Ocean. To step behind its gates after experiencing the brown and smoke shades of the adjoining highway on a hazy summer’s day is to feel like Garland’s Dorothy stepping from sepia-toned Kansas into the Technicolor of Oz. Ms. Streisand — who is promoting both her album, due Aug. 26, and her nine-city concert tour this month (called “The Music … the Mem’ries … the Magic!”) — is waiting at the open door of the house she lives in. That’s as opposed to the one she works in — called “Grandma’s House” — or “the Barn,” which she describes as “an art project.” That’s the one with a subterranean mall of old-time shops, a jaw-dropping marvel of themed décor and room after room of impeccably arranged artifacts. Image Barbra Streisand in her dressing room at the Winter Garden in 1964, during her Broadway run in “Funny Girl.”Credit...John Orris/The New York Times At 74, she looks like, well, Barbra Streisand, albeit a softer, more subdued version than the one you know from six decades of movies, from her Oscar winning-debut in the musical “Funny Girl” (1968), in which she recreated her Broadway performance as the Ziegfeld entertainer Fanny Brice, to the comedy “The Guilt Trip” (2012), with Seth Rogen. Though the rooms behind her beckon in carefully coordinated shades of pale, Ms. Streisand is wearing the uniform black of an East Coast urban dweller. “I am a New Yorker!” she exclaims, when I point out the discrepancy. “A Brooklynite. That means it’s an earthy place to come from. It’s reality, as compared to reality TV.” In conversation, she is a paradoxical mix of wide-open spontaneity and preoccupied vigilance. She may shoot from the hip when she talks about herself, but she also backtracks a lot, as if to retrace the bullet’s trajectory and make sure it hit its target. It’s when she’s guiding me through her homes — gleefully annotating their contents (while noshing from the plates of garden-fresh snacks that keep materializing, courtesy of her longtime housekeeper) — that she seems most at ease. Ms. Streisand has created her own sui generis alternative reality here, one she shares with her husband, the actor James Brolin. (On this afternoon, the day before their 18th wedding anniversary, he is filming a movie in Canada, but he has sent her “four beautiful arrangements of flowers.”) Image Barbra Streisand at her Malibu, Calif., home. Credit...Emily Berl for The New York Times This world is arranged and maintained according to her highly exacting standards, though even here there are annoying signs of imperfection. “Vicky, whose truck is that?” she calls out to an assistant, as she’s showing me her rose-thick gardens. “It’s in the shot. Whenever I show my house, I never want a car in it. Also, tell somebody there’s a mop in the lavender room in Grandma’s House.” Ms. Streisand has written a book about the creation of this private Xanadu, “My Passion for Design,” which became the unlikely basis for a play about her, Jonathan Tolins’s “Buyer & Cellar.” No, she hasn’t seen it. One of the first things she says to me, chummily, is “I understand you’ve seen ‘Buyer & Cellar’; well, now you can see the real thing.” Ms. Streisand says she hates to leave her Malibu property, the place where she can be in control. Almost as soon as she set foot onstage, during rehearsals for her first Broadway show, “I Can Get It for You Wholesale,” she has known, she says, that she was born to be a director, in all senses of that word. Image Directing “The Prince of Tides” (1991).Credit...Columbia Pictures She has become one behind the camera, as the pioneering female director, star and producer of “Yentl,” “The Prince of Tides” and “The Mirror Has Two Faces.” Being that kind of director, though, means waiting — and waiting — for green-lights and money and rights to material. Though it had been announced a few weeks earlier that she would be making her long-anticipated version of the musical “Gypsy” — in which she would portray the ultimate stage mother, Mama Rose — that project is again in limbo. “I’m at their mercy,” she says. “One day you’re going to do ‘Gypsy,’ the next day it’s off. And then this is the only place — writing a book, making a record or doing a tour — where I can do what I have to do, my work.” The record is “Encore,” the 35th of Ms. Streisand’s studio albums. (To date, her records have sold about 245 million copies worldwide; and with “Partners,” her 2014 compilation of duets, she became the only singer to land a No. 1 album in six successive decades.) She says that working on the numbers with the other singers — performers known principally for film work, and including Antonio Banderas, Alec Baldwin, Anne Hathaway and Seth MacFarlane — was rather like producing a series of mini-movies. She added dialogue and, in some cases, altered lyrics from Broadway classics. For her interpretation of Irving Berlin’s “Anything You Can Do,” from “Annie Get Your Gun,” she devised a prologue in which she and Ms. McCarthy sparred after learning they were up for the same film role. This allowed Ms. Streisand to interject a joke about how to say her name: It’s Streisand, as in “sand on the beach,” not “Strize-and,” a mispronunciation that has plagued her at least since she first appeared on “The Ed Sullivan Show” in the early 1960s. Image Barbra Streisand with her husband, James Brolin, in 2014.Credit...Sonia Moskowitz/Getty Images Recently, she heard John Mayer (with whom she sang on “Partners”) being interviewed by the producer and TV host Andy Cohen, and to her dismay, “they both called me Barbra Strize-and.” She says she can’t wait for them to hear the duet with Ms. McCarthy. “Maybe they’ll get it now,” she says, managing to sound both amused and annoyed. The world is riddled with such exasperating errors, and Ms. Streisand sees herself as burdened with the Sisyphean task of uprooting them. Working on her memoir — scheduled for publication in 2017 (although she says, “Don’t hold your breath”) — she has become more agonizingly aware than ever of misrepresentations in the many, many accounts of her life that already exist. Writing about herself is not a process she enjoys. She says if she can speak fluently these days about long-past events, it is “only because I’ve had to look it up.” She is grateful to have discovered the existence of the superfan Matt Howe’s online archive of all things Streisand. Not that she looks at it herself. “Because, again, it’s like the play [“Buyer & Cellar”],” she says. “How do I look at myself? I can’t do it. But my researcher tells me what’s on that thing, like Marvin Hamlisch singing ‘The Way We Were’ [the theme song of her 1973 hit movie with Robert Redford] before I changed the melody and some of the lyrics.” For someone like me, who came of age watching and listening to Ms. Streisand in the early years of her career, her forced focus on the way she was is a godsend. It means that I get to see, in the screening room in the Barn, Ms. Streisand’s uncut sequence of herself as Fanny Brice performing “Swan Lake” in “Funny Girl.” (She supplies a running annotation as we watch, which includes speaking, in character, the unrecorded dialogue that Fanny was saying onscreen.) Image Barbra Streisand in her breakthrough solo number in the Broadway musical “I Can Get It for You Wholesale.”Credit...Leo Friedman I also get to hear about the Rialto of yore, where, as a young woman just a few years out of Erasmus Hall High School in Brooklyn, Ms. Streisand became a star in two musicals, “I Can Get It for You Wholesale” (1962) and “Funny Girl” (1964), the first and last Broadway shows in which she has appeared. When Ms. Streisand showed up at the Tony Awards in June (to present the award for best musical to “Hamilton”), it was her first appearance at the ceremony in 46 years. She never intended to make her career in live theater, she says. For one thing, she hated making the rounds of casting offices (“I’ve never wanted the humiliation of having to ask people for jobs”). There’s something, she says, about being judged — live and on the spot — that unnerves her, especially since her appearance in Central Park in 1967, when 150,000 people showed up and she forgot lyrics onstage. Since then, “I always got frightened when I had to perform live.” She was absent from commercial concert stages for the following 27 years. “I’m killing myself for this tour, because there’s a painting I want,” she says. She is a self-described “auction freak,” and the covetable paintings in her house include works by Munch and Modigliani, as well as a portrait of George Washington by Gilbert Stuart. (She performs at the Barclays Center in Brooklyn on Aug. 11 and 13.) She says she never sings a song the same way twice, which presented problems when she worked on Broadway. Her habit of continually tweaking her role as Miss Marmelstein, the overworked secretary in “Wholesale,” provoked its director, Arthur Laurents, into criticism that stings her to this day. “He said: ‘You’re never gonna make it in showbiz. You’re too undisciplined. You never do it exactly the same way.’” Image Barbra Streisand and Robert Redford in “The Way We Were” (1973).Credit...Columbia Pictures, via Associated Press Ms. Streisand says she visited Laurents — who also wrote the screenplay for “The Way We Were” — not long before he died in 2011. “And I said: ‘Arthur, what do you feel now about the way I work? Do you understand why I change things, or had a hard time freezing the same thing?’ He said, ‘I absolutely do understand.’ That was very rewarding for me.” Though she had no previous Broadway experience at the time of “Wholesale,” Ms. Streisand had her own specific notions about the staging of it. And for the record, she says, the idea of performing her character’s big solo in an office chair on wheels was hers, not the choreographer Herbert Ross’s. She seems to look back on her younger self with a certain wonder. “I don’t know that I would have the chutzpah now,” she says. But where did that original immense confidence — and hunger — come from? Much has been written about Ms. Streisand’s Brooklyn childhood: the gap left by the death of her father, a scholar and schoolteacher, when she was a toddler; the mother who never complimented her and thought she should become a secretary. (For the record, that’s how the signature nails came about, since they kept Ms. Streisand from being able to type.) “She had talent,” she says of her mother, who worked as a secretary but who Ms. Streisand describes as also having had “a beautiful voice.” “She didn’t have the drive. I said, “Why didn’t you do this, why didn’t you go after your dream?’ You know what I’m saying? You can have a dream, but how do you manifest it, how do you make it happen? Hard work, heart, taking chances — that was always my philosophy.” It’s all the more surprising, then, when Ms. Streisand says: “The thing is, I was always kind of lazy. On the one hand, I am — or I was — ambitious. On the other hand, if I was having a great love affair or something, I’d say, I don’t want to do anything else. I mean, searching for personal happiness was more important.” Image Performing at Barclays Center in 2012.Credit...Michael Loccisano/Getty Images That is why, she says, she turned down a number of plum roles in her first decade in Hollywood, including the starring roles in “They Shoot Horses, Don’t They?,” “Klute” and “Julia.” Those all went, memorably, to another actress. As Ms. Streisand says, in a deadpan aside, “I made Jane Fonda’s career.” So will we ever get to see her as Mama Rose in “Gypsy”? Ms. Streisand is now several decades older than that character, modeled after the mother of the celebrated stripper Gypsy Rose Lee. But when you hear her talk about “Gypsy” — and to see the project-pitching “sizzle tape” she made, which ends with a concert performance of her defiantly singing the climactic number “Rose’s Turn” — the mouth still waters. Ms. Streisand has given much thought to Rose. She has talked to her friend Stephen Sondheim, the show’s lyricist, about potential revisions to the songs. She has an ace idea for the delivery of the broken words “mama, mama” in “Rose’s Turn,” based on her belief that the key to Rose’s blind ambition to make a star of her daughter can be found in the mother who walked out on her. Another description Ms. Streisand offers of Rose seems closer to self-portraiture: “I think she’s tough as nails, but a tough person who’s vulnerable inside, you know? It’s like a crab, something that’s jelly inside. What makes for anger is also hurt, and that gives you the depth of playing somebody like that.” The Malibu residence, as tailored to her tastes and needs as a couture dress might be, would seem to offer a place where a person might shed her shell. I ask her if she feels serene here. She doesn’t answer immediately. So I ask: “Do you ever feel serene?” “That’s a good question,” she says. So I ask it again. Her muttered response: “No, not really, sad to say.” From the moment she burst on the Hollywood scene in Funny Girl, winking as she uttered the immortal "Hello, gorgeous" to her mirror image, until the release of her 1996 film, The Mirror Has Two Faces, there was and has been no one quite like Barbra Streisand. She was born off-off-off Broadway, in Brooklyn, the second child of Emmanuel and Diana (Rosen) Streisand, on April 24, 1942. Fifteen months later, Emmanuel Streisand died of a cerebral hemorrhage and the family immediately plunged to an economic level just above poverty. Diana Streisand took a job as a bookkeeper to support her daughter Barbara Joan and son Sheldon, leaving her little time for her children. The situation was only exacerbated when, in 1949, she married Louis Kind, who was, according to Streisand, "allergic to kids." The couple had one child together, Rosalind (later changed to Roslyn). They then separated, reconciled, and finally divorced. Streisand graduated from Erasmus High School in 1959 with a love of the theater and an impressive A average. Her formal education may have ended in Brooklyn, but her academic rewards are ongoing. In May 1995, she received an honorary doctorate from Brandeis, and earlier that year she had delivered a lecture at the John F. Kennedy School of Government at Harvard. As soon as she graduated from high school, despite her mother's protests, she left home to pursue her chosen career in Manhattan. Streisand worked odd jobs while preparing for stardom. She tried to enter the famous Actors Studio, but failed, so she took acting lessons from a friend, Alan Miller, instead, working hard at perfecting her craft. She then moved in with another actor friend, Barry Dennen, who steered her toward singing, helping her shape a song into a theatrical event. Streisand's first venue for this combined approach was the weekly talent show at the Lion Club, one of the premier gay clubs in New York. The underground bar scene fostered a sense of self and a sense of humor that readily warmed to Streisand: The kooky outsider finally found a place where her persona was appreciated and applauded. Journalist Shaun Considine recalls, "with the release of the final note from the song she was treated to her first ovation; and to her first victory." Hired for a one-week engagement, Streisand stayed at the Lion Club for three, building an idiosyncratic songbook and perfecting a wacky delivery style of impromptu one-liners. By word of mouth alone, the Lion Club was mobbed every evening to hear Streisand. She had become a gay icon overnight, and has remained so ever since. Following her success at the gay cabaret, Streisand was offered a job by the nearby Bon Soir club, to double her weekly salary. Once again, her engagement was quickly extended, from three weeks to thirteen. She was working hard on her act, and the audience responded appreciatively wherever she was booked: New York, Detroit, Cleveland, and St. Louis. In 1961, she made her television debut on The lack Paar Show, but it was her role of Miss Marmelstein in Broadway's I Can Get It for You Wholesale at age nineteen that put Streisand on the fast track to superstardom. The part of Miss Marmelstein was enlarged for her, and new songs were added. The show ran for nine months, garnering much praise. Streisand won more than rave reviews for Wholesale -- she also won the heart of the male lead, Elliott Gould. The two married in 1963. In 1966, they had a son, Jason Emmanuel. In 1969, they separated, and in 1971 they divorced, although they later hosted Jason's bar mitzvah celebration together. Although Streisand's show-stopping turn as Miss Marmelstein gave her national media exposure, it took months for Columbia Records to sign her to a contract. She was, it seems, too much of everything for their taste: too Brooklyn, too Broadway, too Jewish, too special, too eccentric, too unattractive. Her songs were too old and too obscure, and her style was too homosexual. Finally, in the spring of 1964, The Barbra Streisand Album was released and made history: it remained on the charts for nearly eighteen months, establishing Streisand as one of the most popular American singers of all time. The path from Barbara to Barbra, Manhattan to Malibu, has been neither linear, nor always successful. Following her astounding movie breakthrough in Funny Girl in 1968, Streisand snatched Hello, Dolly! from Carol Charming, who had made Dolly Levy a household name. Playing a middle-aged matchmaker was not a wise career move, however, and the film flopped. Its album peaked at number forty-nine on the chart, a dismal placing for a star. Having won an Oscar for Funny Girl, Streisand was not even nominated for Hello, Dolly! Her next film, On a Clear Day You Can See Forever, was nearly not released, and the soundtrack sold poorly--until the release of The Owl and the Pussycat in 1970 made it almost look passable. Then came What's Up, Doc? with Ryan O'Neal (they would team up again in The Main Event — and jump-start the fitness craze). She was back in orbit. In 1973, The Way We Were would bring her not only more money, fame, and fans, but also her first number one hit song. By then, she had also participated in her first political fund-raiser, for George McGovern (an act that would place her on Richard Nixon's enemies list). By the end of the 1970s, Streisand had starred in a rock remake of A Star Is Born with Kris Kristofferson and collaborated with singer-songwriter Barry Gibb on her best-selling album Guilty. She was on her way to superstardom. In September 1981, idolized and iconized, Streisand recorded “Memory” from the Andrew Lloyd Webber hit show Cats. According to Considine, then at Columbia Records, she declined to record "Don't Cry for Me Argentina" from Evita because Eva Peron "was a fascist." The album Memories went platinum even though it featured only two new songs. But her next project took a lot of chutzpah, and won for her both accolades and condemnation. Streisand both directed and starred in the film version of Isaac Bashevis Singer's story Yentl. Even though the movie made money, garnered good reviews, and inspired women's groups, she did not receive an Academy Award nomination (the film did win an Oscar for its music). Nor did Singer find the film treatment faithful to his original text. Briefly crushed, Streisand was soon back in the limelight again, in her own way, on her own terms, with The Broadway Album. The first cut on the recording is Streisand speaking with two advisers, who tell her the record won't sell-yet it peaked at number one on the charts and won two Grammys. In 1991, she tried her hand again at directing and starring (as well as producing) a film, Pat Conroy's The Prince of Tides. And again, despite the movie's good reviews and box office success, Streisand was snubbed by the Academy of Motion Picture Arts and Sciences. She turned her energies to helping elect Bill Clinton. In November 1996, she released another film in which she starred as well as directed and produced, The Mirror Has Two Faces. The movie was a hit with the fans, but the reviews were generally unfavorable. To date, then, Streisand has appeared in sixteen movies, mastering each genre — comedy, drama, musical — in turn. Whatever the plot, however, Streisand is decidedly, defiantly, Jewish. She portrays many undeniably Jewish Characters: Fanny Brice in Funny Girl and Funny Lady; Dolly Levy in Hello, Dolly!; the teenaged yeshiva boy who is really a girl in Yentl; and a Jewish psychiatrist in The Prince of Tides. In fact, even when she plays a non-Jew, she is Jewish nonetheless, acting the part with courage and conviction. She even made the lead role in the classic A Star Is Born Jewish, and insisted on playing a Jewish Rose in The Mirror Has Two Faces, formerly a French farce. Before Streisand, conventional wisdom stated that looking Jewish, for an actress, meant being relegated to supporting roles. Now, thirty years after Streisand, looking Jewish, ethnic, or in any way different has become chic. Streisand's Jewishness is not a role, but a lifestyle. She has been generous to Jewish causes and philanthropies in the United States and in Israel, honoring the memory of her late father, an educator. When asked why she performs, Streisand has indicated that it is not for the money. "I have enough money, thank God, and the only reason I want it is to give it away. There's nothing more I need," she told the New York Times in 1983. She champions environmental projects and is a dedicated Democratic fund-raiser; she raised so much money for Bill Clinton's 1992 election campaign that she was invited to his inauguration. She later spearheaded a boycott of Colorado ski resorts when that state passed Proposition 2 to deny gay men and lesbians any legal recourse against even the most blatant homophobia: "We must now say clearly that the moral climate in Colorado is no longer acceptable, and if we're asked to, we must refuse to play where they discriminate." Streisand's often courageous stands earn her the unswerving respect and loyalty of fans all over the world. At Harvard, she explained her philosophy: I know that I can speak more eloquently through my work than through any speech I might give. So, as an artist, I've chosen to make films about subjects and social issues I care about, whether it's dealing with the inequality of women in Yentl, or producing a film about Colonel Grethe Cammermeyer, who was discharged from the army for telling the truth about her sexuality. Yet in public performances and on the screen as the singer and actress, Streisand has a carefully constructed persona. She is touted as a natural talent, but she has taken many acting lessons. She sings to standing-room-only crowds, but she rarely performs in public because of her stage fright. She has a reputation with Hollywood insiders for arrogance, but is deeply insecure. Streisand is a perfectionist, pouring all her time and energy into her film projects, but Hollywood loves to snub her. Streisand, unapologetic about her insistence on total control over her movies and albums, believes the criticism is indicative of sexism. "Of course I want utter and complete control over every product I do. You know, the audience buys my work because I control it, because I am a perfectionist, because I care deeply." Streisand's fans think they know better; they love her. In her long career, Streisand has spawned a legion of fans, including singer Tony Bennett, whose 1995 album Here's to the Ladies begins with a tribute to Streisand and her signature song, "People": "From her humble beginnings to her triumph in the theater, no one has been more successful than Barbra. She is at the pinnacle of her art." Her films, albums, and rare public performances continue to break records. Fans are united in their love of the multitalented star and their hatred of what they perceive to be sensation seeking critics. There are Streisand fan clubs, Streisand fanzines, Streisand cyber-fansites, Streisand collectors, Streisand groupies, and just plain Streisand aficionados. The most notable of these just opened a Streisand boutique in California called, appropriately, Hello Gorgeous. To her fans, Streisand is a trailblazer who has developed her own unique sense of style and beauty. Her lifework, as expressed in her music and movies, as well as in her political activism, is a defiant reexamination and redefinition of these terms -- beauty, style, woman, activist -- on her own terms. Fans and critics alike agree that Streisand is extraordinarily gifted as a performer. Marvin Hamlisch, who in 1962 was Streisand's rehearsal pianist and in 1973 wrote the music for her hit movie The Way We Were, recalled his awe and surprise at her acumen for musical phrasing: "There was nothing she couldn't do with that voice, and she had an instinctual music taste that brought genius to everything she sang." She is equally at home singing ballads and rock, playing a harlot and a Hasid, directing a movie or producing one, creating her image or decorating a house. Designer Isaac Mizrahi, in the March 1997 issue of Out magazine, recalls that in his youth, Streisand was "one of my icons. She was kind of a misfit, and yet she convinced everyone she was beautiful, including me. She is beautiful, but she's not the prototypical ideal of female beauty." She has recorded fifty albums -- thirty went gold and twenty went platinum, making her one of the most popular singers of all time. Moreover, many of her albums have produced hit singles. She has starred in sixteen major movies, three of which she directed. She consistently draws sellout crowds to her live performances. Her television specials brought her to living rooms from Burbank to the Bronx. In addition, her innumerable philanthropic contributions to a wide variety of worthy causes are a testament to the fact that Streisand is much more than just an exceptionally talented and accomplished entertainer. Barbra Streisand is more than another consumer culture icon. She is a diva. A superstar. A sensation. Since the 1960s, she has won more varied awards (Emmy, Grammy, Oscar, special Tony) than anyone else in show business, and has sold more records than any singers but the Beatles. She is timeless, enduring, phenomenal. She has triumphed as herself in a town that thrives on make-believe, and she has done it all without mirrors. Barbara Joan "Barbra" Streisand (/ˈstraɪsænd/; born April 24, 1942) is an American singer, actress, and filmmaker. With a career spanning over six decades, she has achieved success in multiple fields of entertainment, and is among the few performers awarded an Emmy, Grammy, Oscar, and Tony (EGOT). Streisand began her career by performing in nightclubs and Broadway theaters in the early 1960s. Following her guest appearances on various television shows, she signed to Columbia Records and released her debut The Barbra Streisand Album (1963), which won two Grammy Awards, including Album of the Year. Throughout her recording career, Streisand has topped the US Billboard 200 chart with 11 albums—a record for a woman—including People (1964), The Way We Were (1974), Guilty (1980), and The Broadway Album (1985).[1] She has topped the US Billboard Hot 100 chart five times, with her number-one singles "The Way We Were", "Evergreen", "You Don't Bring Me Flowers", "No More Tears (Enough Is Enough)", and "Woman in Love". Following her established recording success in the 1960s, Streisand ventured into film by the end of that decade.[2] She starred in the critically acclaimed Funny Girl (1968), for which she won the Academy Award for Best Actress.[3] Additional notoriety followed with films including the extravagant musical Hello, Dolly! (1969), the screwball comedy What's Up, Doc? (1972), and the romantic drama The Way We Were (1973). Streisand won a second Academy Award composing music for "Evergreen", the love theme from A Star Is Born (1976), the first woman to be honored as a composer.[4] With the release of Yentl (1983), Streisand became the first woman to write, produce, direct, and star in a major studio film.[5] The film won an Oscar for Best Score and a Golden Globe for Best Motion Picture Musical. Streisand also received the Golden Globe Award for Best Director, becoming the first (and for 37 years, the only) woman to win that award. Streisand later directed The Prince of Tides (1991) and The Mirror Has Two Faces (1996). With sales exceeding 150 million records worldwide, Streisand is one of the best-selling recording artists of all time.[6][7] According to the Recording Industry Association of America (RIAA), she is the highest-certified female artist in the United States, with 68.5 million certified album units tying with Mariah Carey.[8] Billboard honored Streisand as the greatest Billboard 200 female artist of all time.[9] Her accolades include two Academy Awards,[10] 10 Grammy Awards including the Grammy Lifetime Achievement Award and the Grammy Legend Award,[11] five Emmy Awards, four Peabody Awards,[12] the Presidential Medal of Freedom,[13] and nine Golden Globes.[14] Contents 1 Early life 1.1 Family 1.2 Education 2 Career beginnings 2.1 Nightclub shows and Broadway stage 2.2 Television appearances, marriage and first albums 3 Career 3.1 Singing 3.2 Acting 4 Artistry 5 Personal life 5.1 Relationships and family 5.2 Name 5.3 Politics 6 Philanthropy 7 Legacy 7.1 Honors 7.2 Professional memberships 7.3 "Streisand effect" 8 Awards and nominations 9 Appearances 9.1 Filmography 9.2 Broadway performances 9.3 West End performances 9.4 Television specials 10 Tours 11 Discography 12 Autobiography 13 Notes 14 References 15 Further reading 16 External links Early life Family Streisand was born on April 24, 1942, in Brooklyn, New York City, the daughter of Diana (born Ida Rosen) and Emanuel Streisand. Her mother had been a soprano in her youth and considered a career in music, but later became a school secretary.[15] Her father was a high school teacher at the same school, where they first met.[16] Streisand's family was Jewish.[17][18][19] Her paternal grandparents emigrated from Galicia (Poland–Ukraine) and her maternal grandparents from the Russian Empire, where her grandfather had been a cantor.[20][21] In August 1943, a few months after Streisand's first birthday, her father died at age 34 from complications from an epileptic seizure, possibly the result of a head injury years earlier[22]:3 The family fell into near-poverty, with her mother working as a low-paid bookkeeper.[23] As an adult, Streisand remembered those early years as always feeling like an "outcast", explaining, "Everybody else's father came home from work at the end of the day. Mine didn't."[22]:3 Her mother tried to pay their bills but could not give her daughter the attention she craved: "When I wanted love from my mother, she gave me food," Streisand says.[22]:3 Streisand recalls that her mother had a "great voice" and sang semi-professionally on occasion. During a visit to the Catskills when Streisand was 13, she told Rosie O'Donnell, she and her mother recorded some songs on tape. That session was the first time Streisand ever asserted herself as an artist, which also became her "first moment of inspiration".[24] She has an older brother, Sheldon, and a half-sister, singer Roslyn Kind,[25][26][27] from her mother's remarriage to Louis Kind in 1949.[28][29] Education Streisand began her education at the Jewish Orthodox Yeshiva of Brooklyn when she was five.[30] She was considered bright and inquisitive about everything; however, she lacked discipline, often shouting answers to questions out of turn.[31][22]:3 She next entered Public School 89 in Brooklyn, and during those early school years began watching television and going to movies. "I always wanted to be somebody, to be famous ...You know, get out of Brooklyn."[22]:3 Streisand became known by others in the neighborhood for her voice. With the other kids she remembers sitting on the stoop in front of their apartment building and singing: "I was considered the girl on the block with the good voice."[22]:3 That talent became a way for her to gain attention. She would often practice her singing in the hallway of her apartment building which gave her voice an echoing quality.[32] She made her singing debut at a PTA assembly, where she became a hit to everyone but her mother, who was mostly critical of her daughter. Streisand was invited to sing at weddings and summer camp, along with having an unsuccessful audition at MGM records when she was nine. By the time she was 13, her mother began supporting her talent, helping her make a four-song demo tape, including "Zing! Went the Strings of My Heart", and "You'll Never Know".[22]:4 Becoming an actress was her main objective. That desire was made stronger when she saw her first Broadway play, The Diary of Anne Frank when she was 14. The star in the play was Susan Strasberg, whose acting she wanted to emulate.[22]:4 Streisand began spending her spare time in the library, studying the biographies of various stage actresses such as Eleanora Duse and Sarah Bernhardt. In addition, she began reading novels and plays and studying the acting theories of Konstantin Stanislavski and Michael Chekhov.[22]:4 She attended Erasmus Hall High School in Brooklyn in 1956 where she became an honor student in modern history, English, and Spanish. She also joined the Freshman Chorus and Choral Club, where she sang with another choir member and classmate, Neil Diamond.[33] Diamond recalls, "We were two poor kids in Brooklyn. We hung out in the front of Erasmus High and smoked cigarettes." The school was near an art-movie house, and he recalls that she was always aware of the films they were showing.[34] Also in her class at Erasmus Hall was Bobby Fischer, who was US Chess Champion by 1957.[35] During the summer of 1957, she got her first stage experience as a walk-on at the Playhouse in Malden Bridge, New York. That small part was followed by a role as the kid sister in Picnic and one as a vamp in Desk Set.[22]:4 In her second year, she took a night job at the Cherry Lane Theatre in Greenwich Village helping backstage. When she was a senior, she rehearsed for a small part in Driftwood, a play staged in a midtown attic space.[22]:5 She graduated, aged 16, from Erasmus Hall in January 1959, and despite her mother's pleas that she stay out of show business, she set out trying to get roles on the New York City stage.[22]:5 After renting a small apartment on 48th street in the heart of the theater district, she accepted any job she could involving the stage, and at every opportunity, she "made the rounds" of the casting offices.[22]:5 Career beginnings Streisand, c. 1962 Aged 16 and living on her own, Streisand took various menial jobs to have some income. During one period, she lacked a permanent address, and found herself sleeping at the home of friends or anywhere else she could set up the army cot she carried around. When desperate, she returned to her mother's flat in Brooklyn for a home-cooked meal. However, her mother was horrified by her daughter's "gypsy-like lifestyle", wrote biographer Karen Swenson, and again begged her to give up trying to get into show business,[22]:6 but Streisand took her mother's pleadings as even more reason to keep trying: "My desires were strengthened by wanting to prove to my mother that I could be a star."[22]:6 She took a job as an usher at the Lunt-Fontanne Theater for The Sound of Music early in 1960. During the run of the play, she heard that the casting director was auditioning for more singers, and it marked the first time she sang in pursuit of a job.[22]:6 Although the director felt she was not right for the part, he encouraged her to begin including her talent as a singer on her résumé when looking for other work.[22]:6 She asked her boyfriend, Barry Dennen, to tape her singing, copies of which she could then give out to possible employers. Dennen found a guitarist to accompany her: We spent the afternoon taping, and the moment I heard the first playback I went insane ... This nutty little kook had one of the most breathtaking voices I'd ever heard ... when she was finished and I turned off the machine, I needed a long moment before I dared look up at her.[22]:6 Dennen grew enthusiastic and he convinced her to enter a talent contest at the Lion, a gay nightclub in Manhattan's Greenwich Village. She performed two songs, after which there was a "stunned silence" from the audience, followed by "thunderous applause" when she was pronounced the winner.[22]:7 She was invited back and sang at the club for several weeks.[36] It was during this time that she dropped the second "a" from her first name,[36] switching from "Barbara" to "Barbra", due to her dislike of her original name.[37] Nightclub shows and Broadway stage Streisand was next asked to audition at the Bon Soir nightclub, after which she was signed up at $125 a week. It became her first professional engagement in September 1960, where she was the opening act for comedian Phyllis Diller. She recalls it was the first time she had been in that kind of upscale environment: "I'd never been in a nightclub until I sang in one."[22]:7 Dennen now wanted to expose Streisand to his vast record collection of female singers, including Billie Holiday, Mabel Mercer, Ethel Waters, and Édith Piaf. Streisand realized she could still become an actress by first gaining recognition as a singer.[22]:7 According to biographer Christopher Nickens, hearing other great female singers benefited her style, as she began creating different emotional characters when performing, which gave her singing a greater range. She improved her stage presence when speaking to the audience between songs. She discovered that her Brooklyn-bred style of humor was received favorably.[22]:8 During the next six months appearing at the club, some began comparing her singing voice to famous names such as Judy Garland, Lena Horne and Fanny Brice. Her conversational ability to charm an audience with spontaneous humor during performances became more sophisticated and professional.[22]:8 Theater critic Leonard Harris wrote: "She's twenty; by the time she's thirty she will have rewritten the record books."[22]:9 Her name is Barbra Streisand. She is 20 years old, she has a three-octave promiscuity of range, she packs more personal dynamic power than anybody I can recall since Libby Holman or Helen Morgan. She can sing as loud as Ethel Merman and as persuasively as Lena or Ella, or as brassy as a Sophie Tucker ... and only Barbra Streisand can turn "Cry Me a River" into something comparable to Enrico Caruso having his first bash at Pagliacci. When Streisand cries you a river, you got a river, Sam ... and she will be around 50 years from now if good songs are still written to be sung by good singers. —syndicated columnist Robert Ruark, on her 1963 performances at the Blue Angel.[38][39] Streisand accepted her first role on the New York stage in Another Evening with Harry Stoones, a satirical comedy play in which she acted and sang two solos. The show received terrible reviews and closed the next day. With the help of her new personal manager, Martin Erlichman, she had successful shows in Detroit and St. Louis. Erlichman then booked her at an even more upscale nightclub in Manhattan, the Blue Angel, where she became a bigger hit during the period from 1961 to 1962. Streisand once told Jimmy Fallon, with whom she sang a duet,[40] on the Tonight Show, that Erlichman was a "fantastic manager" and still managed her career after 50 years.[41] While appearing at the Blue Angel, theater director and playwright Arthur Laurents asked her to audition for a new musical comedy he was directing, I Can Get It for You Wholesale. She got the part of secretary to the lead actor businessman, played by then unknown Elliott Gould.[22]:9 They fell in love during rehearsals and eventually moved into a small apartment together. The show opened on March 22, 1962, at the Shubert Theater, and received rave reviews. Her performance "stopped the show cold", wrote Nickens.[22]:9[22]:10 Groucho Marx, while hosting the Tonight Show, told her that 20 was an "extremely young age to be a success on Broadway".[42] Streisand received a Tony nomination and New York Drama Critic's prize for Best Supporting Actress.[43] The show was recorded and made into an album.[22]:10 Television appearances, marriage and first albums Streisand in 1966 Streisand's first television appearance was on The Tonight Show, then credited to its usual host Jack Paar. She was seen during an April 1961 episode on which Orson Bean substituted for Paar. She sang Harold Arlen's "A Sleepin' Bee".[44] During her appearance, Phyllis Diller, also a guest on the show, called her "one of the great singing talents in the world."[45] Later in 1961, before she was cast in Another Evening With Harry Stoones, she became a semi-regular on PM East/PM West, a talk/variety series hosted by Mike Wallace and Joyce Davidson.[46] In early 1962 she went into the Columbia Records studio for the cast recording of I Can Get It for You Wholesale. Also that spring she participated in a 25th anniversary studio recording of Pins and Needles, the classic popular front musical originated in 1937 by the International Ladies' Garment Workers' Union. Reviews of both albums highlighted Streisand's performances.[47] In May 1962, Streisand appeared on The Garry Moore Show where she sang "Happy Days Are Here Again" for the first time. Her sad, slow version of the 1930s upbeat Democratic Party theme song became her signature song during this early phase of her career.[22]:10 Johnny Carson had her on the Tonight Show half a dozen times in 1962 and 1963, and she became a favorite of his television audience and himself personally. He described her as an "exciting new singer."[48] During one show, she joked with Groucho Marx who liked her style of humor.[22]:10 She did three or four songs, and she was beyond brilliant – so amazing. —Elliott Gould, about their first play together in 1961[49] In December 1962, she made the first of a number of appearances on The Ed Sullivan Show. She was later a cohost on the Mike Douglas Show, and also made an impact on a number of Bob Hope specials. Performing with her on The Ed Sullivan Show was Liberace who became an instant fan of the young singer. Liberace invited her to Las Vegas, Nevada, to perform as his opening act at the Riviera Hotel. Liberace is credited with introducing Barbra to audiences on the West Coast.[50] The following September during her ongoing shows at Harrah's Hotel in Lake Tahoe, she and Elliott Gould took time off to get married in Carson City, Nevada. With her career and popularity rising so quickly, she saw her marriage to Gould as a "stabilizing influence."[22]:11 Her first album, The Barbra Streisand Album in early 1963, made the top 10 on the Billboard chart and won three Grammy Awards.[22]:11 The album made her the best-selling female vocalist in the country.[22]:11 That summer she also released The Second Barbra Streisand Album, which established her as the "most exciting new personality since Elvis Presley."[22]:11 She ended that breakthrough year of 1963 by performing one-night concerts in Indianapolis, San Jose, Chicago, Sacramento, and Los Angeles.[22]:11 Streisand returned to Broadway in 1964 with an acclaimed performance as entertainer Fanny Brice in Funny Girl at the Winter Garden Theatre. The show introduced two of her signature songs, "People" and "Don't Rain on My Parade." Because of the play's overnight success, she appeared on the cover of Time. In 1964 Streisand was nominated for a Tony Award for Best Leading Actress in a Musical but lost to Carol Channing in Hello, Dolly! Streisand received an honorary "Star of the Decade" Tony Award in 1970.[51] In 1966, she repeated her success with Funny Girl in London's West End at the Prince of Wales Theatre. From 1965 to 1968 she appeared in her first four solo television specials. Career This section of a biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. Find sources: "Barbra Streisand" – news · newspapers · books · scholar · JSTOR (January 2017) (Learn how and when to remove this template message) Singing Streisand has recorded 50 studio albums, almost all with Columbia Records. Her early works in the 1960s (her debut The Barbra Streisand Album, The Second Barbra Streisand Album, The Third Album, My Name Is Barbra, etc.) are considered classic renditions of theatre and cabaret standards, including her pensive version of the normally uptempo "Happy Days Are Here Again". She performed this in a duet with Judy Garland on The Judy Garland Show. Garland referred to her on the air as one of the last great belters. They also sang "There's No Business Like Show Business" with Ethel Merman joining them.[52] On The Ed Sullivan Show in 1969 Beginning with My Name Is Barbra, her early albums were often medley-filled keepsakes of her television specials. Starting in 1969, she began attempting more contemporary material, but like many talented singers of the day, she found herself out of her element with rock. Her vocal talents prevailed, and she gained newfound success with the pop and ballad-oriented Richard Perry-produced album Stoney End in 1971. The title track, written by Laura Nyro, was a major hit for Streisand. During the 1970s, she was also highly prominent on the pop charts, with Top 10 recordings such as "The Way We Were" (US No. 1), "Evergreen (Love Theme from A Star Is Born)" (US No. 1), "No More Tears (Enough Is Enough)" (1979, with Donna Summer), which as of 2010 is reportedly still the most commercially successful duet, (US No. 1), "You Don't Bring Me Flowers" (with Neil Diamond) (US No. 1) and "The Main Event" (US No. 3), some of which came from soundtrack recordings of her films. As the 1970s ended, Streisand was named the most successful female singer in the U.S. – only Elvis Presley and The Beatles had sold more albums.[53] In 1980, she released her best-selling effort to date, the Barry Gibb-produced Guilty. The album contained the hits "Woman in Love" (which spent several weeks on top of the pop charts in the fall of 1980), "Guilty", and "What Kind of Fool". After years of largely ignoring Broadway and traditional pop music in favor of more contemporary material, Streisand returned to her musical-theater roots with 1985's The Broadway Album, which was unexpectedly successful, holding the coveted No. 1 Billboard position for three straight weeks, and being certified quadruple platinum. The album featured tunes by Rodgers and Hammerstein, George Gershwin, Jerome Kern, and Stephen Sondheim, who was persuaded to rework some of his songs especially for this recording. The Broadway Album was met with acclaim, including a Grammy nomination for album of the year and handed Streisand her eighth Grammy as Best Female Vocalist. After releasing the live album One Voice in 1986, Streisand was set to release another album of Broadway songs in 1988. She recorded several cuts for the album under the direction of Rupert Holmes, including "On My Own" (from Les Misérables), a medley of "How Are Things in Glocca Morra?" and "Heather on the Hill" (from Finian's Rainbow and Brigadoon, respectively), "All I Ask of You" (from The Phantom of the Opera), "Warm All Over" (from The Most Happy Fella) and an unusual solo version of "Make Our Garden Grow" (from Candide). Streisand was not happy with the direction of the project and it was scrapped. Only "Warm All Over" and a reworked, lite FM-friendly version of "All I Ask of You" were ever released, the latter appearing on Streisand's 1988 effort, Till I Loved You. At the beginning of the 1990s, Streisand started focusing on her film directorial efforts and became almost inactive in the recording studio. In 1991, a four-disc box set, Just for the Record, was released. A compilation spanning Streisand's entire career to date, it featured over 70 tracks of live performances, greatest hits, rarities and previously unreleased material. Streisand taping her TV Special Barbra Streisand ... and other Musical Instruments in 1973 The following year, Streisand's concert fundraising events helped propel President Bill Clinton into the spotlight and into office.[54] Streisand later introduced Clinton at his inauguration in 1993. Streisand's music career, however, was largely on hold. A 1992 appearance at an APLA benefit as well as the aforementioned inaugural performance hinted that Streisand was becoming more receptive to the idea of live performances. A tour was suggested, though Streisand would not immediately commit to it, citing her well-known stage fright as well as security concerns. During this time, Streisand finally returned to the recording studio and released Back to Broadway in June 1993. The album was not as universally lauded as its predecessor, but it did debut at No. 1 on the pop charts (a rare feat for an artist of Streisand's age, especially given that it relegated Janet Jackson's Janet to the No. 2 spot). One of the album's highlights was a medley of "I Have A Love" / "One Hand, One Heart", a duet with Johnny Mathis, who Streisand said is one of her favorite singers.[55][56] In 1993, The New York Times music critic Stephen Holden wrote that Streisand "enjoys a cultural status that only one other American entertainer, Frank Sinatra, has achieved in the last half century".[57] In September 1993, Streisand announced her first public concert appearances in 27 years (if one does not count her Las Vegas nightclub performances between 1969 and 1972). What began as a two-night New Year's event at the MGM Grand Las Vegas led to a multi-city tour in the summer of 1994. Tickets for the tour were sold out in under an hour. Streisand also appeared on the covers of major magazines in anticipation of what Time magazine named "The Music Event of the Century". The tour was one of the biggest all-media merchandise parlays in history. Ticket prices ranged from US$50 to US$1,500, making Streisand the highest-paid concert performer in history. Barbra Streisand: The Concert went on to be the top-grossing concert of the year and earned five Emmy Awards and the Peabody Award, while the taped broadcast on HBO was the highest-rated concert special in HBO's 30-year history. Following the tour's conclusion, Streisand once again kept a low profile musically, instead focusing her efforts on acting and directing duties as well as a burgeoning romance with actor James Brolin. In 1996, Streisand released "I Finally Found Someone" as a duet with Canadian singer and songwriter Bryan Adams. The song was nominated for an Oscar as it was part of the soundtrack of Streisand's self-directed movie The Mirror Has Two Faces. It reached #8 on the Billboard Hot 100, and was her first significant hit in almost a decade and her first top 10 hit on the Hot 100 (and first gold single) since 1981. In 1997, she finally returned to the recording studio, releasing Higher Ground, a collection of songs of a loosely inspirational nature which also featured a duet with Céline Dion. The album received generally favorable reviews and once again debuted at No. 1 on the pop charts. Following her marriage to Brolin in 1998, Streisand recorded an album of love songs entitled A Love Like Ours the following year. Reviews were mixed, with many critics complaining about the somewhat syrupy sentiments and overly-lush arrangements; however, it did produce a modest hit for Streisand in the country-tinged "If You Ever Leave Me", a duet with Vince Gill. On New Year's Eve 1999, Streisand returned to the concert stage, selling out in the first few hours, eight months before her return.[58] At the end of the millennium, she was the number one female singer in the U.S., with at least two No. 1 albums in each decade since she began performing. A two-disc live album of the concert entitled Timeless: Live in Concert was released in 2000. Streisand performed versions of the Timeless concert in Sydney and Melbourne, Australia, in early 2000. In advance of four concerts (two each in Los Angeles and New York) in September 2000, Streisand announced that she was retiring from playing public concerts. Her performance of the song "People" was broadcast on the Internet via America Online. Streisand's most recent albums have been Christmas Memories (2001), a somewhat somber collection of holiday songs, and The Movie Album (2003), featuring famous film themes and backed by a large symphony orchestra. Guilty Pleasures (called Guilty Too in the UK), a collaboration with Barry Gibb and a sequel to their Guilty, was released worldwide in 2005. Streisand performing in July 2007 at The O2 Arena in London In February 2006, Streisand recorded the song "Smile" alongside Tony Bennett at Streisand's Malibu home. The song is included on Bennett's 80th birthday album, Duets. In September 2006, the pair filmed a live performance of the song for a special directed by Rob Marshall entitled Tony Bennett: An American Classic. The special aired on NBC November 21, 2006, and was released on DVD the same day. Streisand's duet with Bennett opened the special. In 2006, Streisand announced her intent to tour again, in an effort to raise money and awareness for multiple issues. After four days of rehearsal at the Sovereign Bank Arena in Trenton, New Jersey, the tour began on October 4 at the Wachovia Center in Philadelphia, continued with a featured stop in Fort Lauderdale, Florida, (this was the concert Streisand chose to film for a TV special), and concluded at Staples Center in Los Angeles on November 20, 2006. Special guests Il Divo were interwoven throughout the show. The show was known as Streisand: The Tour. Streisand's 20-concert tour set box-office records. At the age of 64, she grossed $92,457,062 and set house gross records in 14 of the 16 arenas played on the tour. She set the third-place record for her show of October 9, 2006 at Madison Square Garden, the first- and second-place records, of which are held by her two shows in September 2000. She set the second-place record at MGM Grand Garden Arena with her December 31, 1999, show being the house record and highest-grossing concert of all time. This led many people to openly criticize Streisand for price gouging as many tickets sold for upwards of $1,000.[59] A collection of performances culled from different stops on this tour, Live in Concert 2006, debuted at No. 7 on the Billboard 200, making it Streisand's 29th Top 10 album.[60] In the summer of 2007, Streisand gave concerts for the first time in continental Europe. The first concert took place in Zürich (June 18), then Vienna (June 22), Paris (June 26), Berlin (June 30), Stockholm (July 4, canceled), Manchester (July 10) and Celbridge, near Dublin (July 14), followed by three concerts in London (July 18, 22 and 25), the only European city where Streisand had performed before 2007. Tickets for the London dates cost between £100.00 and £1,500.00, and for Ireland, between €118 and €500. The Ireland date was marred by issues with serious parking and seating problems leading to the event's being dubbed a fiasco by Hot Press.[61] The tour included a 58-piece orchestra. In February 2008, Forbes listed Streisand as the No.-2-earning female musician between June 2006 and June 2007 with earnings of about $60 million.[62] On November 17, 2008, Streisand returned to the studio to begin recording what would be her 63rd album[63] and it was announced that Diana Krall was producing the album.[64] Streisand is one of the recipients of the 2008 Kennedy Center Honors.[65] On December 7, 2008, she visited the White House as part of the ceremonies.[63] On April 25, 2009, CBS aired Streisand's latest television special, Streisand: Live in Concert, highlighting the featured stop from her 2006 North American tour in Fort Lauderdale, Florida. On September 26, 2009, Streisand performed a one-night-only show at the Village Vanguard in New York City's Greenwich Village.[66] This performance was later released on DVD as One Night Only: Barbra Streisand and Quartet at The Village Vanguard. On September 29, 2009, Streisand and Columbia Records released her newest studio album, Love is the Answer, produced by Diana Krall.[67] On October 2, 2009, Streisand made her British television performance debut with an interview on Friday Night with Jonathan Ross to promote the album. This album debuted at No. 1 on the Billboard 200 and registered her biggest weekly sales since 1997, making Streisand the only artist in history to achieve No. 1 albums in five different decades. On February 1, 2010, Streisand joined over 80 other artists in recording a new version of the 1985 charity single "We Are the World". Quincy Jones and Lionel Richie planned to release the new version to mark the 25th anniversary of its original recording. These plans changed, however, in view of the devastating earthquake that hit Haiti on January 12, 2010, and on February 12, the song, now called "We Are the World 25 for Haiti", made its debut as a charity single to support relief aid for the island nation. In 2011, Streisand sang "Somewhere" from the Broadway musical West Side Story, with child prodigy Jackie Evancho, on Evancho's album Dream with Me.[68] Streisand was honored as MusiCares Person of the Year on February 11, 2011, two days prior to the 53rd Annual Grammy Awards.[69] On October 11, 2012, Streisand gave a three-hour concert performance before a crowd of 18,000 as part of the ongoing inaugural events of Barclays Center (and part of her current Barbra Live tour) in Brooklyn (her first-ever public performance in her home borough). Streisand was joined onstage by trumpeter Chris Botti, Italian operatic trio Il Volo, and her son Jason Gould. The concert included musical tributes by Streisand to Donna Summer and Marvin Hamlisch, both of whom had died earlier in 2012. Confirmed attendees included Barbara Walters, Jimmy Fallon, Sting, Katie Couric, Woody Allen, Michael Douglas and New York City mayor Michael Bloomberg, as well as designers Calvin Klein, Donna Karan, Ralph Lauren and Michael Kors.[70][71] In June 2013 she gave two concerts in Bloomfield Stadium, Tel Aviv. Streisand is one of many singers who use teleprompters during their live performances. Streisand has defended her choice in using teleprompters to display lyrics and, sometimes, banter.[72] In September 2014,[73] she released Partners, a new album of duets that features collaborations with Elvis Presley, Andrea Bocelli, Stevie Wonder, Lionel Richie, Billy Joel, Babyface, Michael Bublé, Josh Groban, John Mayer, John Legend, Blake Shelton and Jason Gould. This album topped the Billboard 200 with sales of 196,000 copies in the first week, making Streisand the only recording artist to have a number-one album in each of the last six decades.[74] It was also certified gold in November 2014 and platinum in January 2015, thus becoming Streisand's 52nd gold and 31st Platinum album, more than any other female artist in history.[75] In May 2016, Streisand announced the upcoming album Encore: Movie Partners Sing Broadway to be released in August following a nine-city concert tour, Barbra: The Music, The Mem'ries, The Magic, including performances in Los Angeles, Las Vegas, Philadelphia, and a return to her hometown of Brooklyn.[76] In June 2018, Streisand confirmed she was working on an album titled Walls.[77] This album, a protest against the Trump administration, came out on November 2, 2018, just prior to the U.S. midterm election. A featured track in this album is "Don't Lie to Me."[78] In the New York Times she revealed that she wrote this song because Donald Trump's outrages were keeping her awake at night.[79] Acting Streisand in Hello, Dolly! (1969) Her first film was a reprise of her Broadway hit, Funny Girl (1968), an artistic and commercial success directed by Hollywood veteran William Wyler. Streisand won the 1968 Academy Award for Best Actress for the role,[80] sharing it with Katharine Hepburn (The Lion in Winter), the only time there has been a tie in this Oscar category.[81] Her next two movies were also based on musicals—Jerry Herman's Hello, Dolly!, directed by Gene Kelly (1969); and Alan Jay Lerner's and Burton Lane's On a Clear Day You Can See Forever, directed by Vincente Minnelli (1970)—while her fourth film was based on the Broadway play The Owl and the Pussycat (1970).[citation needed] During the 1970s, Streisand starred in several screwball comedies, including What's Up, Doc? (1972) and The Main Event (1979), both co-starring Ryan O'Neal, and For Pete's Sake (1974) with Michael Sarrazin. One of her most famous roles during this period was in the drama The Way We Were (1973) with Robert Redford, for which she received an Academy Award nomination as Best Actress. She earned her second Academy Award for Best Original Song (with lyricist Paul Williams) for the song "Evergreen", from A Star Is Born in 1976,[82] in which she also starred. Along with Paul Newman, Sidney Poitier and later Steve McQueen, Streisand formed First Artists Production Company in 1969 so actors could secure properties and develop movie projects for themselves. Streisand's initial outing with First Artists was Up the Sandbox (1972).[83] From 1969 to 1980, Streisand appeared in Top Ten Money Making Stars Poll, the annual motion picture exhibitors poll of Top 10 Box Office attractions a total of 10 times,[84] often as the only woman on the list. After the commercially disappointing All Night Long in 1981, Streisand's film output decreased considerably. She has acted in only eight films since. I'm impressed with her choosing Yentl; it was extraordinary. But for some reason, Hollywood turned against her ... there was a lack of sympathy toward her ... Christ, she could have played Cleopatra better than Liz Taylor, with her enormous power and the subtlety of her singing ... She is one of the great actresses and she hasn't been well used. —director John Huston, Playboy interview, 1985[85] Streisand produced a number of her own films, setting up Barwood Films in 1972. The first film she made, Yentl (1983), was turned down by every Hollywood studio at least once when she asked to not only direct the picture, but also to star in the film, until Orion Pictures took on the project and gave the film a budget of $14 million.[86] For Yentl (1983), she was producer, director, and star, an experience she repeated for The Prince of Tides (1991) and The Mirror Has Two Faces (1996). There was controversy when Yentl received five Academy Award nominations, but none for the major categories of Best Picture, actress, or Director.[87] The Prince of Tides received even more Oscar nominations, including Best Picture and Best Screenplay, although not for director. Upon completion of the film, its screenwriter, Pat Conroy, who also authored the novel, called Streisand "a goddess who walks upon the earth."[22]:xii Streisand also co-scripted Yentl (with Jack Rosenthal), something for which she is not always given credit.[88] According to The New York Times editorial page editor Andrew Rosenthal in an interview with Allan Wolper, "The one thing that makes Barbra Streisand crazy is when nobody gives her the credit for having written Yentl."[89] In 2004, Streisand made a return to film acting after an eight-year hiatus, in the comedy Meet the Fockers (a sequel to Meet the Parents), playing opposite Dustin Hoffman, Ben Stiller, Blythe Danner and Robert De Niro. Streisand in On a Clear Day You Can See Forever (1970) In 2005, Streisand's Barwood Films, Gary Smith, and Sonny Murray purchased the rights to Simon Mawer's book Mendel's Dwarf.[90] In December 2008, she stated that she was considering directing an adaptation of Larry Kramer's play The Normal Heart, a project she has worked on since the mid-1990s.[91] In December 2010, Streisand appeared in Little Fockers, the third film from the Meet the Parents trilogy. She reprised the role of Roz Focker alongside Dustin Hoffman. On January 28, 2011, The Hollywood Reporter announced that Paramount Pictures had given the green light to begin shooting the road-trip comedy My Mother's Curse, with Seth Rogen playing Streisand's character's son. Anne Fletcher directed the project with a script by Dan Fogelman, produced by Lorne Michaels, John Goldwyn, and Evan Goldberg. Executive producers included Streisand, Rogen, Fogelman, and David Ellison, whose Skydance Productions co-financed the road movie.[92] Shooting began in spring 2011 and wrapped in July; the film's title was eventually altered to The Guilt Trip, and the movie was released in December 2012. Streisand has been set to star in a film adaptation of the musical Gypsy – featuring music by Jules Styne, a book by Arthur Laurents and lyrics by Stephen Sondheim – with Richard LaGravenese reportedly attached to the project as screenwriter.[93] In April 2016, it was reported that Streisand was in advanced negotiations to star in and produce the film, which will be directed by Barry Levinson and distributed by STX Entertainment.[94] Two months later, the film's script had been completed and production was scheduled to begin in early 2017.[95] In 2015 plans emerged for Streisand to direct a feature biopic about the 18th-century Russian empress Catherine the Great based on the top 2014 Black List script produced by Gil Netter[96] with Keira Knightley starring.[97] As of 2020 nothing has come out of these plans. Artistry Streisand possesses a mezzo-soprano vocal range,[98][99] which Howard Cohen of the Miami Herald describes as "peerless".[99] Whitney Balliett wrote, "Streisand wows her listeners with her shrewd dynamics (in-your-ear soft here, elbowing-loud there), her bravura climbs, her rolling vibrato, and the singular Streisand-from-Brooklyn nasal quality of her voice – a voice as immediately recognizable in its way as Louis Armstrong's."[100] Music writer Allegra Rossi adds that Streisand creates complete compositions in her head: Even though she can't read or write music, Barbra hears melodies as completed compositions in her head. She hears a melody and takes it in, learning it quickly. Barbra developed her ability to sustain long notes because she wanted to. She can mold a tune that others cannot; she's able to sing between song and speech, keeping in tune, carrying rhythm and meaning.[32][a] While she is predominantly a pop singer, Streisand's voice has been described as "semi-operatic" due to its strength and quality of tone.[102] According to Adam Feldman of Time Out, Streisand's "signature vocal style" is "a suspension bridge between old-school belting and microphone pop."[103] She is known for her ability to hold relatively high notes, both loud and soft, with great intensity, as well as for her ability to make slight but unobtrusive embellishments on a melodic line. The former quality led classical pianist Glenn Gould to call himself "a Streisand freak".[104] In recent years, critics and audiences have noted that her voice has "lowered and acquired an occasionally husky edge". However, New York Times music critic Stephen Holden noted that her distinctive tone and musical instincts remain, and that she still "has the gift of conveying a primal human longing in a beautiful sound".[102] Paul Taylor of The Independent wrote that Streisand "has sounded a little scratchy and frayed, though the stout resolve and superb technique with which Streisand manages to hoist it over these difficulties has come to seem morally as well aesthetically impressive."[105] Reviewing Streisand's most recent studio effort Partners, Gil Naveh of Haaretz described Streisand's voice as "velvety, clear and powerful ... and the passing years have given it a fascinating depth and roughness."[106] Personal life Relationships and family Streisand with husband Elliott Gould and son Jason (1967) With James Brolin (2013) Streisand has been married twice. Her first husband was actor Elliott Gould, whom she married on September 13, 1963. They announced their separation on February 12, 1969 and divorced on July 6, 1971. They had one child, Jason Gould, who appeared as her on-screen son in The Prince of Tides. In 1969 and 1970, Streisand dated Canadian Prime Minister Pierre Trudeau.[107][108][109] She started a relationship with hairdresser/producer Jon Peters in 1973.[110] He went on to be her manager and producer. They broke up in 1982 during the making of Yentl, but remain friends. She is the godmother of his daughters, Caleigh Peters and Skye Peters.[111] From November 1983 to October 1987, Streisand lived with Baskin-Robbins ice cream heir Richard Baskin,[112] who wrote the lyrics to "Here We Are At Last" on her 1984 album Emotion. She dated actor Don Johnson from December 1987 through at least September 1988.[113][114] The pair recorded a duet of "Till I Loved You". In 1983 and 1989, respectively, Streisand briefly dated actors Richard Gere[115] and Clint Eastwood.[116] From 1989 to 1991, she was involved with composer James Newton Howard.[117] Streisand dated tennis champion Andre Agassi from 1992 to 1993. Writing about the relationship in his 2009 autobiography, Agassi said: "We agree that we're good for each other, and so what if she's twenty-eight years older? We're simpatico, and the public outcry only adds spice to our connection. It makes our friendship feel forbidden, taboo – another piece of my overall rebellion. Dating Barbra Streisand is like wearing Hot Lava."[118] During the early to mid-1990s, Streisand was in romantic relationships with several high-profile men, including newscaster Peter Jennings[119] as well as actors Liam Neeson,[120] Jon Voight[121] and Peter Weller.[122] She is reputed to have had liaisons with U.S. President Bill Clinton,[123][124] Prince Charles,[125][126] and Dodi Fayed.[127][128] Her second husband is actor James Brolin, whom she married on July 1, 1998.[129] While they have no children together, Brolin has two sons from his first marriage, including actor Josh Brolin, and one daughter from his second marriage.[130][131] Streisand is the owner of multiple dogs, and she loved her dog Samantha so much, that she had her cloned.[132] In March 2019, Streisand apologized for her controversial statements about Michael Jackson's accusers.[133] Name Streisand changed her name from "Barbara" to "Barbra" because, she said, "I hated the name, but I refused to change it."[134] Streisand further explained, "Well, I was 18 and I wanted to be unique, but I didn't want to change my name because that was too false. You know, people were saying you could be Joanie Sands, or something like that. (My middle name is Joan.) And I said, 'No, let's see, if I take out the 'a,' it's still 'Barbara,' but it's unique."[135] A 1967 biography with a concert program said, "the spelling of her first name is an instance of partial rebellion: she was advised to change her last name and retaliated by dropping an "a" from the first instead."[136] Politics In the early years of her career, Streisand's interest in politics was limited, with the exception of her participation in activities of the anti-nuclear group Women Strike for Peace in 1961 and 1962.[137] In July 1968, with Harry Belafonte and others, she performed at the Hollywood Bowl in a fundraising concert sponsored by the Southern Christian Leadership Conference.[138] Streisand has long been an active supporter of the Democratic Party and many of its causes. She was among the celebrities on President Richard Nixon's 1971 list of political enemies.[139] In 1995 Streisand spoke at Harvard's John F. Kennedy School of Government about the role of the artist as citizen, in support of arts programs and funding.[140][141] Streisand is a supporter of gay rights and backed the "No on 8" campaign in an unsuccessful attempt to defeat California Proposition 8.[142] In 2012, Streisand stated, "The new laws requiring U.S. citizens to produce photo IDs at the poll are designed to deprive elderly and minority citizens of the precious right to cast their vote. These regressive laws are themselves the most dangerous voter fraud threatening American democracy."[143] Streisand continued her voter rights advocacy in 2020, tweeting a link to VoteRiders, a nonprofit that assists citizens with obtaining voter ID.[144] In June 2013, she helped celebrate the 90th birthday of Shimon Peres held at Jerusalem's international convention center.[145] She also performed at two other concerts in Tel Aviv that same week, part of her first concert tour of Israel.[146] In January 2017, she participated in 2017 Women's March in Los Angeles. Introduced by Rufus Wainwright, Streisand appeared on stage and made a speech.[147] In an October 2018 interview with Emma Brockes of The Guardian, Streisand discussed the theme of her new album Walls: the danger she believed President Donald Trump posed towards the United States. She said, "This is a dangerous time in this nation, this republic: a man who is corrupt and indecent and is assaulting our institutions. It's really, really frightening. And I just pray that people who are compassionate and respect the truth will come out and vote. I'm saying more than just vote. Vote for Democrats!"[148] Philanthropy In 1984, Streisand donated the Emanuel Streisand Building for Jewish Studies to the Hebrew University of Jerusalem, in the Mount Scopus campus, in memory of her father, an educator and scholar who died when she was young.[149][150][151] Streisand has personally raised $25 million[152] for organizations through her live performances. The Streisand Foundation,[153] established in 1986, has contributed over $16 million through nearly 1,000 grants to "national organizations working on preservation of the environment, voter education, the protection of civil liberties and civil rights, women's issues[154] and nuclear disarmament".[155] In 2006, Streisand donated $1 million to the William J. Clinton Foundation in support of former President Bill Clinton's climate change initiative.[156] In 2009, Streisand gifted $5 million to endow the Barbra Streisand Women's Cardiovascular Research and Education Program at Cedars-Sinai Medical Center's Women's Heart Center.[157] In September that year, Parade magazine included Streisand on its Giving Back Fund's second annual Giving Back 30 survey, "a ranking of the celebrities who have made the largest donations to charity in 2007 according to public records",[158] as the third most generous celebrity. The Giving Back Fund claimed Streisand donated $11 million, which The Streisand Foundation distributed. In 2012 she raised $22 million to support her women's cardiovascular center, bringing her own personal contribution to $10 million. The program was officially named the Barbra Streisand Women's Heart Center.[159] At Julien's Auctions in October 2009, Streisand, a longtime collector of art and furniture, sold 526 items, with all the proceeds going to her foundation. Items included a costume from Funny Lady and a vintage dental cabinet purchased by the performer at 18 years old. The sale's most valuable lot was a painting by Kees van Dongen.[160] In December 2011, she appeared at a fundraising gala for Israel Defense Forces charities.[161] In June 2020, she gifted George Floyd's daughter, Gianna Floyd, Disney shares.[162] Legacy Honors Streisand was presented Distinguished Merit Award by Mademoiselle in 1964, and selected as Miss Ziegfeld in 1965. In 1968, she received the Israel Freedom Medal, the highest civilian award of Israel, and she was awarded Pied Piper Award by ASCAP and Prix De L'Academie Charles Cros in 1969, Crystal Apple by her hometown City of New York, Woman of Achievement in the Arts by Anti-Defamation League in 1978. In 1984, Streisand was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.[163] She received the Woman of Courage Award by the National Organization for Women (NOW), the Ordre des Arts et des Lettres[164] and Scopus Award by American Friends of The Hebrew University. She received Breakthrough Awards for "making films that portray women with serious complexity" at the Women, Men and Media symposium in 1991.[165] In 1992, she was given the Commitment to Life Award by AIDS Project Los Angeles(APLA), and the Bill of Rights Award by the American Civil Liberties Union of Southern California, the Dorothy Arzner Special Recognition by Women in Film, and the Golden Plate by the Academy of Achievement. She was honored with the Harry Chapin Humanitarian Award from the ASCAP in 1994 and the Peabody Award in 1995, the same year she was accorded an Honorary Doctorate in Arts and Humanities by Brandeis University.[164] She was also awarded Filmmaker of the Year Award for "lifetime achievement in filmmaking" by ShowEast and Peabody Award in 1996, Christopher Award in 1998. In 2000, President Bill Clinton presented Streisand with the National Medal of Arts, the highest honor specifically given for achievement in the arts,[166] and Library of Congress Living Legend, she also received the highest honor for a career in film AFI Life Achievement Award from American Film Institute and Liberty and Justice Award from Rainbow/PUSH Coalition, Gracie Allen Award, First Annual Jewish Image Awards in 2001, and Humanitarian Award "for her years of leadership, vision, and activism in the fight for civil liberties, including religion, race, gender equality and freedom of speech, as well as all aspects of gay rights" from Human Rights Campaign in 2004. In 2007, French President Nicolas Sarkozy presented Streisand with Legion of Honour, the highest decoration in France, and President George W. Bush presented her Kennedy Center Honors, the highest recognition of cultural achievement. In 2011, she was given Board of Governors Humanitarian Award for her efforts on behalf of women's heart health and her many other philanthropic activities." by Cedars-Sinai Heart Institute. She received the L'Oréal Paris Legend Award in 18th Elle Magazine Women in Hollywood. In 2012, she received a Lifetime Achievement Award from the Women Film Critics Circle. She was accorded an Honorary Doctorate of Philosophy by the Hebrew University of Jerusalem in 2013. In that year, she was also recipient of the Charlie Chaplin Award for Lifetime Achievement by the Film Society of Lincoln Center as the only female artist to direct, write, produce and star in the same major studio film, Yentl,[167] along with a Lifetime Achievement Glamour Awards.[168] In 2014, Streisand was on one of eight different New York Magazine covers celebrating the magazine's "100 Years, 100 Songs, 100 Nights: A Century of Pop Music in New York". She also received the American Society of Cinematographers (ASC) Board of Governors Award,[citation needed] the Sherry Lansing Leadership Award at The Hollywood Reporter's annual Women in Entertainment Breakfast,[169] and came first in the 1010 Wins Iconic Celebrity Poll by CBS in 2015.[164] In November 2015, President Barack Obama announced that Streisand would receive the Presidential Medal of Freedom, the highest civilian award of the United States.[170] Streisand was inducted into and Hollywood Walk of Fame in 1976, Goldmine Hall of Fame in 2002,[171] Long Island Music Hall of Fame in 2007,[172] the Hit Parade Hall of Fame in 2009,[173] National Museum of American Jewish History and California Hall of Fame in 2010.[164] In 1970, she received a Special Tony Award named "Star of the Decade", and was selected "Star of the Decade" by the National Association of Theatre Owners (NATO) in 1980, "Star of Decade" by NATO/ShowWest and President's Award by NARM in 1988. That year she was also named as All-Time Favorite Musical Performer by People's Choice Awards. In 1986, Life named her as one of "Five Hollywood's Most Powerful Women".[174] In 1998, Harris Poll reported that she is the "Most Popular Singer Among Adult Americans of All Ages." She was also featured on VH1's 100 Greatest Women of Rock N Roll,[175] Top 100 Singers of all time by Mojo magazine,[176] named the century's best female singer in a Reuters/Zogby poll, and "Top Female Artist of the Century" by Recording Industry Association of America in 1999.[177][178] In 2006, Streisand was one of honorees at Oprah Winfrey's white-tie Legends Ball.[179] In 2015, The Daily Telegraph ranked Streisand as one of the 10 top female singer-songwriters of all time.[180] A&E's Biography magazine ranked Streisand as one of their favorite leading actress of all time,[181] she was also featured on the Voices of the Century list by BBC,[182] the "100 Greatest Movie Stars of Time" list compiled by People,[183] VH1's list of the "200 Greatest Pop Culture Icons of All Time",[184] the "100 Greatest Entertainers of All Time", "ranked at #13" and the "Greatest Movie Star of all time list" by Entertainment Weekly,[175] "The 50 Greatest Actresses of All Tim" by AMC,[185] and Billboard Hot 100 All-Time Top Artists.[186] Billboard also ranked Streisand as the top female Jewish musician of all time.[187] As a gay icon, Streisand was named by The Advocate as one of the "25 Coolest Women" and the "9 Coolest Women Appealing to Both Lesbians and Gay Men",[188] and was also placed among the "12 Greatest Female Gay Icons of All Time" by Out magazine.[189] She was recognized as one of the top gay icons of the past three decades by Gay Times.[190] During the first decade of the 21st century, the American Film Institute celebrated 100 years of the greatest films in American cinema. Four of Streisand's songs were represented on AFI's 100 Years ... 100 Songs, which highlighted "America's Greatest Music in the Movies": "The Way We Were" at #8, "Evergreen (Love Theme From A Star Is Born)" at # 16, "People" at #13, and "Don't Rain on My Parade" at #46. Many of her films were represented on AFI's 100 Years ... series. AFI's 100 Years ... 100 Laughs, highlighting "the films and film artists that have made audiences laugh throughout the century," ranked What's Up, Doc? at #61. AFI's 100 Years ... 100 Passions highlighted the top 100 greatest love stories in American cinema and placed The Way We Were at #8, Funny Girl at #41, and What's Up, Doc? at #68. AFI's Greatest Movie Musicals highlighted the 25 greatest American movie musicals, ranking Funny Girl at #16.[citation needed] In December 2016, the film Funny Girl was marked for preservation by the Library of Congress in the National Film Registry.[191] In March 2017, the song "People" was selected for preservation in the National Recording Registry. Streisand said she was humbled to have the song honored "as part of the flow of our nation's culture."[192] Professional memberships As one of the most acclaimed actresses, singers, directors, writers, composers, producers, designers, photographers and activists in every medium that she's worked in, Streisand is the only artist who is concurrently a member of the American Society of Composers, Authors and Publishers, Screen Actors Guild, American Federation of Television and Radio Artists, Academy of Motion Pictures Arts and Sciences and Actors' Equity Association, as well as the honorary chairwoman of the board of directors of Hadassah's International Research Institute on Women.[193] "Streisand effect" Main article: Streisand effect In a 2003 lawsuit, Streisand claimed that a website illustrating coastal erosion invaded her privacy because one of its 12,000 images happened to show her Malibu, California home; Streisand wanted the photo removed from the site. The suit was dismissed and the resultant publicity prompted hundreds of thousands of people to download the photo, which had been accessed only four times prior to Streisand initiating legal action.[194][195] The term Streisand effect was coined to refer to an attempt to censor information which unintentionally publicizes that information.[196] Awards and nominations Main article: List of awards and nominations received by Barbra Streisand Streisand has been nominated 43 times for a Grammy Award, winning eight. In addition, she has received two special non-competitive awards; the 1992 Grammy Legend Award and the 1994 Grammy Lifetime Achievement Award. She has also been inducted into the Grammy Hall of Fame four times. In 2011, she was honored as MusiCares Person of the Year by the Grammy Foundation for her artistic achievement in the music industry. Appearances Filmography Year Title Role Notes 1968 Funny Girl Fanny Brice 1969 Hello, Dolly! Dolly Levi 1970 On a Clear Day You Can See Forever Daisy Gamble / Melinda Tentrees The Owl and the Pussycat Doris Wilgus/Wadsworth/Wellington/Waverly 1972 What's Up, Doc? Judy Maxwell Up the Sandbox Margaret Reynolds 1973 The Way We Were Katie Morosky 1974 For Pete's Sake Henrietta "Henry" Robbins 1975 Funny Lady Fanny Brice 1976 A Star Is Born Esther Hoffman Howard 1979 The Main Event Hillary Kramer 1981 All Night Long Cheryl Gibbons 1983 Yentl Yentl Mendel / Anshel Mendel Also director, producer, and co-writer 1987 Nuts Claudia Faith Draper 1991 The Prince of Tides Dr. Susan Lowenstein Also director and producer 1996 The Mirror Has Two Faces Rose Morgan Also director and producer 2004 Meet the Fockers Rozalin "Roz" Focker 2010 Little Fockers Rozalin "Roz" Focker 2012 The Guilt Trip Joyce Brewster Broadway performances Year Title Notes 1961–1963 I Can Get It for You Wholesale Nominated—Tony Award for Best Performance by a Featured Actress in a Musical 1964–1965 Funny Girl Nominated—Tony Award for Best Leading Actress in a Musical West End performances Year Title Notes 1966 Funny Girl April 13, 1966 – July 16, 1966 at the Prince of Wales Theatre, London. Television specials Year Title Notes 1965 My Name Is Barbra Aired on CBS April 28, 1965 1966 Color Me Barbra Aired on CBS March 30, 1966 1967 The Belle of 14th Street Aired on CBS October 11, 1967 1968 A Happening in Central Park Recorded June 17, 1967; CBS telecast delayed until Sept. 15, 1968 to coincide with release of Funny Girl 1973 Barbra Streisand ... And Other Musical Instruments Aired on CBS November 2, 1973 1975 Funny Girl to Funny Lady Aired on ABC 1976 Barbra: With One More Look at You 1978 Getting in Shape for The Main Event 1983 A Film Is Born: The Making of 'Yentl' 1986 Putting it Together: The Making of The Broadway Album 1986 One Voice 1994 Barbra Streisand: The Concert Also producer and director 2001 Barbra Streisand: Timeless Aired on FOX February 14, 2001 (1 hour edited version) 2009 Streisand: Live in Concert Aired on CBS April 25, 2009[197] (Filmed in Florida in 2006) 2011 Barbra Streisand: One Night Only at The Village Vanguard Aired on PBS, premiered on August 6, 2011 2013 Barbra Streisand: Back to Brooklyn Aired on PBS, premiered on November 29, 2013 2017 The Music ... The Mem'ries ... The Magic! Aired on Netflix, premiered November 22, 2017 Tours Year Title Continents Box-office proceeds Total audience 1966 An Evening with Barbra Streisand Tour North America $480,000 67,500 1993–1994 Barbra Streisand in Concert North America and Europe $50 million 400,000 1999–2000 Timeless North America and Australia $70 million 200,000 2006–2007 Streisand North America and Europe $119.5 million 425,000 2012–2013 Barbra Live North America and Europe $66 million 254,958 2016–2017 Barbra: The Music, The Mem'ries, The Magic North America $53 million 203,423 Discography Main article: Barbra Streisand discography The Barbra Streisand Album (1963) The Second Barbra Streisand Album (1963) The Third Album (1964) People (1964) My Name Is Barbra (1965) My Name Is Barbra, Two... (1965) Color Me Barbra (1966) Je m'appelle Barbra (1966) Simply Streisand (1967) A Christmas Album (1967) What About Today? (1969) Stoney End (1971) Barbra Joan Streisand (1971) Barbra Streisand...and Other Musical Instruments (1973) The Way We Were (1974) ButterFly (1974) Lazy Afternoon (1975) Classical Barbra (1976) Superman (1977) Songbird (1978) Wet (1979) Guilty (1980) Emotion (1984) The Broadway Album (1985) Till I Loved You (1988) Back to Broadway (1993) Higher Ground (1997) A Love Like Ours (1999) Christmas Memories (2001) The Movie Album (2003) Guilty Pleasures (2005) Love Is the Answer (2009) What Matters Most (2011) Partners (2014) Encore: Movie Partners Sing Broadway (2016) Walls (2018) Autobiography Streisand has stated she is writing her autobiography but has stopped and started at various points.[198] In May 2015, Viking Press announced it had bought Streisand's memoirs, which will cover her entire life and career, and would publish it in 2017.[199] As of 2020, the book remains unpublished.[200]
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