I've
asked Barbra expert and author Allison J. Waldman (The Barbra Streisand
Scrapbook) to join us periodically on BarbraNews.com with her unique
perspective on all things Streisand.
This blog/column will be a regular feature on our
site, so please come back often to enjoy Allison's insightful comments and
amusing takes on our favorite star, the one and only Barbra. You can visit
Allison's updated site at
www.barbrafile.com
-- Craig
Hall, webmaster
Something
Wonderful
06 April 2006
I thought I'd do something a little out of the ordinary for this new Barbra
Byte. After watching the Showtime broadcast of the 1972 Liza Minnelli TV
special, "Liza With A Z," I got to thinking about "My Name Is Barbra."
They're both amazing speicals, don't you think? The more I thought about
them, the more connections occurred to me. So, here it is -- the Barbra/Liza
TV special connection!
Click here to view
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Streisand, Music Memorabilia
One More Time
Around
24 March 2006
You
think Barbra Streisand knows that she's making us all mishegah
about whether she's going to tour or not? You think she knows that we've
been losing sleep wondering where the tour will go? And do you think she's
concerned that the tickets may cost as much as $1,500? No, no, and no.
Barbra's job isn't to worry about those things. She has faith in us that
we'll deal with the craziness, sleep after she's done touring, and only
pay astronomical ticket prices if we can afford it (and for those who
can't, Barbra will make sure there's a TV special, DVD release and CD!)
Barbra's concentration now should be -- and must be -- soley on the show.
Now that it is 99% a certainty that come this fall she will be on tour,
her focus needs to be centered on that. And, like it or not, Barbra's got
her work cut out for her. She is competing not with any other diva who's
been on tour, like Cher or Bette, or anyone who may be touring at the same
time in the same arenas. No, Barbra is competing with herself. The
successes of "The Concert" and "Timeless" set the bar high -- very high.
Some fans, for instance, still contend that "Timeless" should have been
more than it was, as if the built-in drama of "The Concert" could be
duplicated. It couldn't. Only "The Concert" had the excitement of Barbra's
return to live performing for the first time in over 20 years.
I think Barbra would be wise to do a show as unlike "The Concert" and
"Timeless" as possible. I'd love to see her create an intimate show, with
a band rather than an orchestra, and something less scripted. One of the
highpoints of both the other concerts was when Barbra simply interacted
with the audience. In Australia, when she had to deal with rain and
improvised a costume change -- donning a rain jacket and Aussie hat -- was
inspired. And when the show was over, she did an unplanned encore, singing
"Come Rain or Come Shine." In every way, the unscripted moments were
brilliant.
For those who think Barbra's tour won't in some way cover her career,
think again. It's a requirement. People coming to hear Barbra Streisand
will expect -- heck, demand! -- "People," "Evergreen," "Happy Days," "The
Way We Were" and probably "On A Clear Day," "Somewhere" and "Don't Rain On
My Parade," too. If it was a concert for just me and you -- the diehard
Barbra fans -- she could sing a litany of new songs and I'd be overjoyed.
But, trust me, when the audience includes your mother and my sisters, the
classic Barbra songs will be expected.
All things considered, I'm happy, nervous, thrilled and excited about the
prospect of seeing Barbra live one more time. It won't be like it was in
Las Vegas on January 1, 1994, but I don't expect it to be. That was the
first for me and you can never recapture that moment. However, I do expect
the inimitable Barbra -- that voice, that personality, that presence, that
ineffable magic that she alone creates. Seeing her live is like nothing
else. Whether I can swing a front row seat or one in the nosebleeds, it
doesn't matter. I'll be there. I'm just grateful that we're all getting
the chance one more time.
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Streisand, Music Memorabilia
23 January 2006
She's Touched Us
I recently received an email from a fan who felt compelled to share his
Barbra story with me. No, that's not a story of meeting Barbra! It's a story
of how he found Barbra. Streisand fans all have that story, and
they're all fascinating. Of course, it wasn't the first time I'd read such
stories, but what I've been so pleased to read is that many, many of these
stories are coming from younger people. The world is continuing to discover
Barbra, even if she's been part of the public consciousness since 1963.
Whether they hear "Guilty" or see a clip on TV or catch the Streisand
specials on DVD, somehow, someway, Barbra reaches them.
It shows that Barbra's magic truly is timeless -- and ageless. You can get
turned on to "Funny Girl" whether you first saw it in 1968 or just last
weekend. I think the same will be true in 2008 and 2028! The legacy Barbra
Streisand has created is impressive -- no doubt. Incredible albums,
entertaining films, indelible characters, hours and hours of music. But
she's more than just the work. In between all that music and film are
moments that retain the power to touch the human soul. She's not simply a
voice, a face, a figure and an image. She's a force of nature. That force,
which is uniquely her own and as strong today as ever, is what makes Barbra
Barbra. When her particular psyche synchs with you, you're a fan for life.
Barbra's talked about how important it is to her to touch people. She holds
onto the letters from fans who've been moved by her work and expressed that
in letters (those that reach her desk). I also think that feeling comes
through when she performs live and faces her devoted fans. If you've been
lucky enough to be in one of those crowds, you know that it's a love-fest.
Despite whatever fears or apprehensions she's had, Barbra has almost always
found that within the spotlight, she holds the fans in her spell and they
give her back nothing but a warmth and adoration that's true and sincere.
So, if it's true that Barbra may do some more concerts in the future, I hope
all these younger fans -- those who've been "Fockerized" by Barbra's Roz or
found themselves gyrating to "The Night of My Life" or come undone by the
wealth of music and moments in the Streisand TV specials -- get tickets.
What they'll find in whatever new and dazzling show Barbra creates is more
amazing than any words I can compose. She'll touch you -- and nothing,
nothing, nothing is the same.
Allison J. Waldman - Check out my new Barbra Ebay Store
eBay Store - The Barbra File Memorabilia Shop: Movie Memorabilia, Barbra
Streisand, Music Memorabilia
15 November
If
Someone Takes A Spill...
I was watching a fascinating show on the Trio cable channel called "Flops:
101," all about the biggest disasters in film, TV and theater and why flops
happen. As I was hearing about movie bombs like "Ishtar" and "Heaven's Gate"
and Broadway collapses like "Carrie" and "Seussical," it occurred to me that
while Barbra has had a multitude of successes, she's had a few significant
and notable flops.
The first, and most notorious flop, is probably "The Belle of 14th Street."
Herself. After creating a brilliant recipe for an award-winning Streisand TV
special with "My Name Is Barbra" (Act 1 - innovative song-medley; Act 2 -
clever, comic romp; Act 3 - dynamic in-one concert). Hemion, Layton and
Streisand improved upon the formula just a smidge by adding color in "Color
Me Barbra." Still, when it came time to do Barbra's third TV special for
CBS, instead of sticking to what was working so famously, Joe Layton had
this crazy idea about producing a pastiche, a homage, an exact replica of a
turn-of-the-century vaudeville show. He'd always wanted to do something like
that, right down to the high-button shoes and antique decor. Barbra, who had
just given birth to Jason and already had her sights set on getting to
Hollywood to start filming "Funny Girl," seemed inclined to follow Joe
Layton's lead. She was also probably happy to know that unlike her other two
specials, there would be guests to help carry the load for this show; she'd
also have the chance to play a variety of characters, from a German opera
diva to a Southern belle Shakespearen thespian.
As "Flops: 101" explained, even when great talent is assembled, even when
the powers-that-be support the production, a flop can happen. Such was the
case with "Belle of 14th Street." Despite everything they did right, the
audience wasn't interested in an authentic look back at vaudeville. "Belle"
was proof positive that even a powerhouse, uber-talented star like Barbra
Streisand can be derailed. And, if you're human -- and in touch with your
internal truth -- a flop can be a positive and healthy development. As
Barbra would sing years later, "there are no mistakes, just lessons to be
learned."
While we're on the subject of flops, let's clear the air about some other
Barbra endeavors that some detractors have attempted to label as flops.
1) "A Star Is Born" was not a flop. It was the highest grossing film of
Barbra's career until "Meet the Fockers." It garnered her an Oscar and a
Grammy. It was a massive hit with the masses, no matter how vicious the film
criticism.
2) "Up the Sandbox" was not a flop. When this modestly budgeted domestic
comedy-drama was released, there were no expectations that it would be a top
box office success. Did it do as well as anticipated? No. However, the
reviews were good -- excellent for Barbra personally -- and the reputation
over time has elevated the picture.
3) "All Night Long" was a flop. When you put two Oscar-winners -- Gene
Hackman and Barbra -- in a picture for the first time together, the
anticipation is that you're going to do something great with them. Sadly,
the director didn't seize the moment. Universal yanked "ANL" from theaters
after just a few weeks of release.
4) "Yentl" was not a flop. It made money and it made the world stand up and
recognize that Barbra knew exactly what she was doing when she took on the
ultimate responsibility as director, writer, producer and star. Many would
have loved it if "Yentl" was a bomb, but that just didn't happen. "Yentl"
might have soared higher than it did, but don't ever let anyone tell you it
was a mistake.
I think you get my point.
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
30 October
Gotta Move...
Hello, again, friends.
Sorry it's been a while since my last Barbra Byte. It's not because Barbra's
been too busy or I've been too disengaged to write. Not at all. What's
happened is that I've moved -- a long move. From New Jersey to Orlando,
Florida. Needless to say, that was quite a shlep! It took time and a lot of
hard work. And in the middle of it all, Barbra puts out "Guilty Pleasures"
and does interviews with Diane Sawyer and Ellen Degeneres and a few other in
the UK. I've done my best to keep up, but really, couldn't Barbra have
waited till my move was done! :>
Okay, seriously, I've managed to keep my hand in and I even did an album
review for "All About Barbra" for "GP." It was a rave, by the way. Oh, and
while we're on the subject, congratulations to Lynne Pounder and Steve
Baxter for the 20th anniversary of AAB. I contributed to the mag with Issue
#1 and through most of those 20 years. It's a testament to Lynne and Steve's
tireless dedication that AAB has stayed in publication. Bravo!
Back to Barbra, let me start by saying I loved "Guilty Pleasure." I think it
was fresh and exciting and a wonderful pop collection. She sounds amazing
and to debut in the Top Five is a great accomplishment. Sure, we all wanted
another #1 album, but I believe the world of music has changed too
drastically for an artist of Barbra's style to ever claim the top spot
again. Fortunately, Barbra's never been about the numbers, even if the
people around her (and us fans) have been. For her, it's all about the art.
She lives in the moment and when she's done with something, she moves on.
As for the TV interviews, I have to say that I was very happy with the Ellen
appearance. I know many fans are of a different mind; some even called it a
disaster. Frankly, I don't buy that. Barbra is Barbra; she can be puzzling
at times. Sometimes I think I would do things differently if I were Barbra,
but I'm not. Anyway, if you think the Ellen show wasn't what you wanted it
to be, go back in time and recall Barbra's aborted appearance on "The
Tonight Show" with Johnny Carson. He was pissed off. ...Not gracious at all
about her late cancellation. He took every chance he got to rip her. Was
that a public relations disaster? Yes. Did she survive it? Yes. So for those
who were disappointed about Ellen, here's some advice: don't worry about it,
just let it go. Barbra will overcome it and so will we.
Anyway, for me, I have other things on my agenda. I'm busy decorating my new
nest. I'm hanging pictures and organizing my stuff. And my first new DVD
purchase will be the Barbra TV specials. What a joy that will be, because,
you know, when I think of home, I think of a place where there's Barbra
overflowing!
02 September
Not Strange At All
I find it interesting that
there's a question of controversy about Barbra's new video, "Stranger In A
Strange Land." Because of the line, "You're fighting someone else's war…"
those with a political agenda are reading between the lines and saying that
this song -- and performance -- is Barbra's way of denouncing the war in
Iraq.
Well, it is. But it's not the only message in the video. It's also not the
only way she's made her feelings known. She has been against America's
invasion of Iraq, the supposed liberation of Iraqis and pre-emptive strike
against future terrorist attacks, since the inception. She rejected, among
many others -- this writer included -- who did not buy the logic that linked
Saddam Hussein to the 9/11 attacks and justified the action. However, in the
post-9/11 rush to support the President -- right or wrong -- dissent was not
only unwelcomed, it was deemed unpatriotic.
Barbra heard it. She was ridiculed and condemned for voicing her opinions on
BarbraStreisand.com. She was stacked in a deck of cards that made those in
the vocal minority look like cartoons. Talk radio had a field day with her
words, even though you can see now that she was on target. Furthermore,
there was nothing comic about her speaking her mind and using the freedom of
speech we are granted by the U.S. Constitution.
So, back to the new video. Is it anti-war? Is it pro-military? What is it
really all about? I just watched the video a couple more times and here's my
take: it is, indeed, anti-war (and, by the way, who is pro-war? Nobody wants
war...do they?). However, it is also pro-soldiers. Not pro-military, because
that implies a positive feeling about the actions taken by the generals and
the commander-in-chief. Being pro-soldier, I think, puts you firmly on the
side of the men and women in the trenches, the ones who are not
decision-makers, just order-takers. They're the strangers in a strange land
that Barbra is sympathetic, too, and her interpretation of Barry Gibb's song
is for them.
Go back and watch the video with me: The images are very specific. The early
scenes show the soldiers going to war. They are kissing their loved ones and
saying goodbye. Hands are waving, tears are shed; they board trains, planes
and ships. The war is not just today's action; black and white, grainy film
reminds us that our fathers and grandfathers and great-grandfathers were
called to fight, too.
When Barbra sings, "I write a letter every single day," we see letters being
written and read by the soldiers. They are shown overseas, in foreign lands,
in uniform and at the job. But the song doesn't end there. Barbra brings it
home, and brings them home. The soldiers return to their homeland. We see
they are victorious -- they are because feted with a ticker tape parade
(something Viet Nam vets never received). There are hugs and kisses. Happy
endings. The American flag waves.
Now, I interpret that as an uplifting, positive message. It's saying, "You
may be fighting someone else's war, but you will return and you will be
reunited with your love ones and we will salute you for your service."
And at a time when our President does not want to say when he projects the
war will end, at a time when some are saying the soldiers will have to
continue on in Iraq until 2009, Barbra -- and this video -- is seeing an
ending to the conflict. The video is suggesting that a time will come,
hopefully soon, when our boys and girls will be home again.
Perhaps it's a subtle message, but I think it's a powerful one. Don't be
afraid to play this to everyone you know, Streisand fan or not. And speaking
as a Barbra fan, I'm proud of her for making this video and sharing her
feelings.
18 July 2005
Sing Your
Own Special Song…Songs!
It’s a fascinating thing to consider singers and their signature songs,
isn’t it? Especially when you think about the fact that signature songs –
that is, the songs that are immediately associated with that performer as
their essential theme – are not always the biggest hit a singer ever had.
Take Barbra. She’s in a unique position because she probably has as many as
six or seven signature songs: “People,” “Happy Days Are Here Again,” “Don’t
Rain On My Parade,” “The Way We Were,” “Evergreen,” “On A Clear Day” and “My
Man” all come readily to mind. True, “The Way We Were” and “Evergreen”
reached number one on the charts, but not the others, and yet can anyone
hear those songs and not think of Barbra singing them?
What do these songs say about Barbra? Is it just dumb luck that she’s
associated with a ballad about like “People,” a song about finding love and
acceptance, as opposed to a less meaningful song? Think about it: Tony
Bennett, for all his greatness, is always linked to “I Left My Heart in San
Francisco” – and he wasn’t even born there! Liza Minnelli is an interesting
case: her signature songs are probably “Cabaret” and “New York, New York,”
and while they’re both great songs, what do they really say? “Cabaret” urges
a philosophy of grabbing life by the handful, even if you wind up dying
young and leaving a good-looking corpse behind. Is that really the
philosophy Liza wants to be espousing? I think not, which is why she’s
altered the lyrics in later years to deny the original message of the song,
i.e. “When I go, I’m NOT going like Elsie!”
But maybe it’s not fair to over-analyze signature songs. After all, an
artist doesn’t know a song will become their theme when they chose to sing
it. Doris Day sang “Que Sera, Sera” because it was written for The Man Who
Knew Too Much and she was in the film! And if Madonna had to do it over
again, do you think she’d want her signature song to be “Like A Virgin”?
Barbra, you see, is very fortunate in her signature songs. In one word,
these songs represent positive virtues: “People” – love; “Happy Days Are
Here Again” – hope; “Don’t Rain On My Parade” – courage; “The Way We Were” –
appreciation; “Evergreen” – promise; “On A Clear Day” – insight; and “My
Man” – loyalty. Think of that: love, hope, courage, appreciation, promise,
insight and loyalty. Good traits. Good messages. And as interpreted by
Barbra, incredible performances; songs that definitely bear her signature.
06 July 2005
Nothing,
nothing, nothing is the same
A few years back, a magazine
did a features called "What's Sexy Now?" and Barbra was included in the
round up and photographed showing lots of legs. Now, let me preface this by
saying I love Barbra, but I don't love her in that way. I appreciate how
sexy she is, but I'm not turned on, if you know what I mean. (Robert
Redford's another story...)
But let me say this: Barbra Streisand is a very sexy person. Always has been
and probably always will be. She's played film characters who are very
sensual. Yentl was singing about "flowing through my body is a river of
surprise…" and we all know what that is, don't we? Yeah, I think we know
what Yentl was feeling and why she was smiling when she got into bed!
And there's that great moment in Funny Girl, during "You Are Woman." when
she's laying there for Nick, her breasts bursting out of her gown! You just
know that chaise is gonna be rocking! And if the chaise is rocking, don't
come knocking.
In Hello, Dolly, after the big title number, if you watch Horace's reaction
to seeing Dolly in that gorgeous gold gown, you better believe he's noticed
her assets! Mae West, eat your heart out!
And in On A Clear Day, Melinda was likely the most boldly sexual of all.
"Love With All the Trimmings" defines sexual allure. How many guys were
wishing they were going where Barbra put her wine glass!
There are many more examples, too long to list really. And it's not only in
film characters that Barbra exudes sex appeal. Once she emerged from her
gawky, youthful teens, Barbra made audiences believe in her in a song like
"Make Believe" by projecting a sexual desire. She acted sexy, looked lovely
and presented herself someone who was involved romantically with some lucky
guy.
This week, though, something occurred to me: I think the sexiest thing about
Barbra isn't her face or legs or breasts or nails, it's her voice. Nobody
sounds like that. That voice is completely unique and mellifluous and
stunning, and it can bring you to your knees.
If talent is a turn on, Barbra's got it in spades and it all eminates from
that long, lovely throat and what she does with her sound. It's as powerful
and attractive as Sinatra's, and I think when you really want to talk about
sexiness, in Barbra that's where the main vein is -- the voice. Everything
else -- and there's lots of it -- is icing on the cake.
20 June 2005
Having Just
The Vision...
While I'm already anticipating great songs and performances on the new
Barbra/Barry Gibb CD -- and aren't we all -- I've had a brainstorm for a
future Streisand album and I have to share it with you or I'll bust! (Shades
of Marmelstein there, don't you think?)
Anyway, I had this vision of Barbra and Judy Garland. No, it wasn't a
flashback to "The Judy Garland Show" or the "Duets" DVD, this was something
new. Imagine, if you will, a CD called "Streisand's Garland of Songs" or
"Just Judy" or "I Remember Judy," or "Zing: Barbra Sings Judy." It will be a
first for Barbra -- a tribute album. And not just any tribute, because this
would be a chance for Barbra to acknowledge how much she liked Judy and
appreciated the opportunity to sing with her.
The beauty of this CD, I think, is two-fold: 1) it would be a gracious and
loving way to honor a legendary singer and a woman who made a great
impression upon Barbra at a point in her career when she needed some sage
advice and maternal encouragement; and 2) the choice of music that Judy sang
would give Barbra a plethora of magnificent material.
Here's just a few of the songs I'd love to hear Barbra sing on this very
special CD: "Swanee," "Liza," "But Not For Me," "You Made Me Love You,"
"Love of My Life," "Friendly Star," "I Could Go On Singing," "Happiness Is
Just A Thing Called Joe," "If Love Were All," "How Long Has This Been Going
On," "Zing Went the Strings of My Heart," "San Francisco," and even "The
Battle Hymn of the Republic"! There are probably a hundred more that could
be considered, lots of Arlen and Gershwin and Berlin and Porter -- all
brilliant! I would even think a duet might be called for -- one of those
"Unforgettable" set ups which could put Barbra and Judy together in song,
one more time.
Now I know, this is not a typical Barbra project. Granted, Barbra has rarely
done anything like this. But that's one of the reasons I think she should do
it -- and why it would work. As much as I loved the Bette Midler album that
was a tribute to Rosemary Clooney, and it was a wonderful CD, I never got
the connection between Bette and Rosie. Did they ever even meet? Were they
best buddies? Barbra and Judy are another story: they do have a connection.
And their legacies are intertwined in history. I'm not the only one who
believes that Judy passed the torch of greatness directly to Barbra in 1963
when they sang together.
So, if you're reading, Barbra (and Marty), go ahead and use this idea. In
fact, I give it to you. It's yours. Take it and run with it. Make this CD
and do it even better than I've imagined it. And if you do actually make
this a reality, prepare to be inspired, entertained and enthralled, because
Judy's music does all that. Just like Barbra's music.
9 June 2005
Two Very
Special People
I was really saddened to read about the death of Anne Bancroft this week. I
thought she was a wonderful actress, vibrant and compelling, comic and
dramatic, sexy and sweet. She leaves behind a legacy of brilliant
performances. There’s no question that she’ll be missed. There are two
reasons I mention Ms. Bancroft in this Barbra Byte. The first, and most
relevant perhaps, is that she and Barbra had a major connection that were
prophetic, to say the least.
Once upon a time in 1962,
Bancroft had already won a Tony for The Miracle Worker, and had just filmed
the movie version of the play (which would win her an Oscar). Bancroft was a
hot property. She’d also won a Tony for Two For the Seesaw, in which she’d
played an aggressive, vulnerable, lovable loser of a Jewish girl named
Gittel Mosca who got her heart broken by a married, gorgeous goyishe guy.
Director Jerome Robbins was working on Funny Girl, the Fanny Brice musical,
and thought Bancroft could be a dynamic Fanny. He gave her the script. Anne
said she’d consider the role, and even though she’d never starred in a
musical. And she might have actually done the show, if not for a series of
occurrences that changed the destinies of Anne Bancroft and Barbra
Streisand.
First, composer Jule Styne had seen Barbra in I Can Get It For You
Wholesale, and subconsciously had her voice in his head as he wrote songs
for Funny Girl. Instead of writing for Bancroft’s pleasant, little voice, he
was writing for Streisand’s expansive, vibrant one. Second, Styne needed a
lyricist (Sondheim backed out early when Mary Martin was in talks to play
Fanny). By chance, Styne met Bob Merrill while on vacation in Florida, and
he convinced him to write lyrics on spec. Merrill agreed and in two weeks,
they’d done five songs. One of the five was “People,” an intricate,
difficult vocal. At that point, Merrill learned that Anne Bancroft was
likely to play Fanny. Unbeknownst to Jule, Bob had a bad history with Anne.
He immediately told Jule that Anne didn’t have the voice to sing “People,”
and he was also certain she’d hate every word he’d written because she hated
him.
Mr. Merrill was
correct. When Bancroft went to a meeting with Ray Stark, where the
songwriters presented their tunes, she was aghast to see Merrill. Then,
after hearing the music – especially “People” – she announced, “I want no
part of this.” And, conveniently, waiting in the wings, ready, willing and
able to sing “People” and everything else, was a neophyte named Barbra. She
would still have to convince a phalanx of producers and decision-makers that
she was the right choice for Fanny, but in time, she got the part and
Broadway history was made. Thank you very much, Anne Bancroft!
Of course, Anne’s decision to not do Funny Girl was very right for Barbra,
but it wasn’t very wrong for Bancroft. By the end of 1963, she was a
two-time Tony winner and an Oscar winner. She didn’t need Funny Girl…but
Barbra did. So, all in all, everything worked out beautifully, and probably
just as it was destined to be.
There was another reason I wanted to write about Anne Bancroft’s passing. It
turns out that the ailment that killed Anne Bancroft, uterine cancer, is one
that I have survived.
It’s not with pride that I say I survived cancer; it’s gratitude. I’m
grateful that my doctors diagnosed my condition and treated it quickly. The
cancer was eradicated and has stayed that way. Almost ten years now. I was
lucky that the kind of cancer I had has a high recovery rate – 70-80%.
That’s why I was so shocked to learn that Anne didn’t overcome uterine
cancer as I did. Perhaps it was her age, perhaps she discovered it too late.
As the saying goes, “There but for the grace of God go I.” So, with a heavy
heart, let me add my goodbye to this great star. Goodbye, Anne, a.k.a. Mrs.
Robinson, Annie Sullivan, Gittel Mosca and a dozen other brilliant
characters you created. You will not be forgotten.
3 June 2005
Seeing is
believing?
You know that
old saying “seeing is believing”? Well, I think it really applies to Barbra
when she sings. She is the most amazing singer to watch while she is
singing! And considering the fact that she’s perhaps the most successful
singer of all time based on just her voice on CDs and radio, that’s a lot to
say!
This
thought occurred to me when I was reading an article from a Detroit
newspaper about Barbra’s appearances at the Caucus Club way back in 1961. It
was fascinating to read that Barbra spent hours rehearsing her gestures and
moves. No doubt they were an outgrowth of the emotion she was feeling in the
song, but they weren’t random or wild. She choreographed how she would look
in song, and that – my friends – is key. To this day, how Barbra Streisand
looks when she sings is one of her most famous trademarks: the closed eyes,
head back, steepled fingers, active shoulders… Nobody else does it the way
Barbra does. Somewhere along the way, she realized that to be believed
singing a song about love, she had to look the part. She couldn’t be a
gawky, flailing child and make listeners think her words were true. The
lyrics demanded that she appear in character, and the actress in song used
her entire being to make it work.
Think of some classic Barbra visual performances, like “Bewitched, Bothered
and Bewildered” on The Judy Garland Show. It’s not just Barbra’s magical
vocal that you remember; it’s how she looked. In her eyes, you saw a woman
in love and tortured by it. She may have only been 21 years old, but she
seemed a worldly, weary victim of romance, able to laugh at herself through
tears of frustration and want. It was a consummate performance, even though
the lighting revealed youthful blemishes on her face and the lighting
elongated her nose! It’s no wonder that Judy Garland was blown away.
Now take out “Send In the Clowns” from One Voice. Sheer magnificence!
Barbra’s never done that song better, and one reason is because we can see
her act it out. It takes chutzpah to stare straight into the lens of a
camera – close up -- and deliver the kind of shades of emotion inherent in
Sondheim’s lyrics, but Barbra pulls it off. Her blue eyes show the restless
insecurity and sadness of a character that is in love with a lover who no
longer loves her…or does he? When the camera catches Penny Marshall wiping
tears away after the song has ended, we’re wiping our away, too.
Before the recent concert tours, I feared that I would never get to see
Barbra singing live. I loved all the video of her singing – and the great
songs on film like “Don’t Rain on My Parade,” “How Lucky Can You Get,”
“Evergreen,” “My Man,” and everything in Yentl – but would I get to see the
magic of Barbra with my naked eyes? Thankfully, I did. It happened in The
Concert, during “He Touched Me.” I watched her sitting on that divan,
playing with the cylindrical pillow, lost in an imaginary scene with a
psychiatrist as she led into the song. And when she sang it, I saw that
face, those eyes, the hands and shoulders and there was no doubt that she
was not Barbra anymore. She was that girl; that kid reliving the moment when
he touched her. Needless to say, she touched me.
So you see, my friends, all that choreography and planning, the positive
narcissism to stare at the mirror for hours, was all worth it. Because, when
all is said and done, seeing is believing.
25 May 2005
Bit By Bit,
Putting It Together…
I’ve been having random Barbra thoughts, kind of mini-bytes. Like…
I bet if Republican right-wingers and Red State dwellers who think that
Barbra is evil for speaking out the way she does, I have a suggestion.
Listen to Barbra’s recording of “One God.” This song is truly a moving and
universal plea for interfaith understanding and tolerance.
…Speaking
of songs, to this day, perhaps the best song on The Broadway Album is
“Putting It Together,” and if you think that was easy to put together, think
again. It must have taken hours to get that executive chorus just right, not
to mention altering the lyrics to apply specifically to the music business
and then Barbra making it all work. And how appropo are those words now?
They were appropo then, too.
…I’m really kind of excited about this new project that Barwood Films has
just acquired, “Mendel’s Dwarf.” It may seem a bit out there, but if you’ve
ever seen Peter Dinklage (“The Station Agent”) on film, you know what a
wonderful actor he is. Wouldn’t it be great if it were a Barwood Film that
earned him the recognition he so richly deserves?
…Do you think Barbra was discussing Senator Barack Obama’s possible
presidential aspirations when they got together at Oprah’s Legends Ball?
“Listen, Barack baby, if you run, I’ll sing. Is it a deal?” By the way,
Obama is the most exciting young Democratic hopeful to come along since Bill
Clinton emerged from Arkansas! If he’s as brilliant as he was at the last
national convention, he could be one helluva presidential candidate.
…I read a piece in the St. Petersburg Times yesterday that surveyed
graduating high school seniors and asked them about their favorite music and
TV and films from the past year. Would you believe that four out of seven
named “Meet The Fockers” as their favorite film? You just know that Barbra’s
made a slew of new fans with that picture, don’t you?
…It’s great to hear that Barbra was in the recording studio this week. I
wonder if she gets butterflies when she starts a new album, or is it old hat
by now? Something tells me that until the musicians begin playing, it’s
always a little like the first time. You know, like the first day of school.
…Here’s an idea for the next, new Barbra CD: a live recording in a small
venue – like the Bon Soir (which is long gone) – with just a bass, piano and
guitar accompaniment. The song list could include songs she’s sung, but
never appeared on an album, like “Long Ago and Far Away,” “Summertime,”
“Napoleon,” “Several Sins A Day” and “Home.” Sounds like a winner to me!
…Stephen Sondheim was on a PBS special called “Soundtrack of the Century”
and he related a story about when Frank Sinatra did “Send In the Clowns.”
Frank was asked by a magazine reporter if he understood what the title
meant. Sinatra said he had no idea, and blew it off as unimportant. Cut to
Barbra, about a decade or so later, doing the number. She dissected the song
before recording it and got Sondheim to add a new bridge to make the meaning
of the lyrics more specific. Two great singers; two great interpretations.
One very illuminating difference.
…When Barbra appeared at the Oscars, there was a bit of commentary about her
weight, and granted, she looked a bit heavier than usual. If you want to tip
the scales in the other direction, take a look at Barbra in “The Prince of
Tides.” She looked gorgeous in that film – and thin as a rail, too.
…Question: If Barbra was around during the big band era, do you think she
would have been just another girl singer?
…Question, too: Does Barbra still love coffee ice cream?
19 May 2005
She’s
Superman...
One of the things I’ve noticed while listening to Barbra music is how easy
she makes it all seem. I’ve tried for years to sing along with Barbra. I
know all the words and I can carry a tune, but for the life of me, I just
can’t keep up with her. Which brings me to the point of this piece – when
Barbra sings, she becomes Wonder Woman and Hercules combined! She’s powerful
and intense and brilliant all at the same time. I think it’s often easy to
forget just how physically taxing it is to sing the way she does. This came
to mind recently when I was listening (on my favorite new gizmo, my mini
Ipod) to the “I’m Still Here” medley from The Concert (Las Vegas).
Like many fans, I was sorry when Barbra shortened the “I’m Still
Here”/”Everybody Says Don’t”/”Don’t Rain On My Parade” concert opener after
her Las Vegas stint. I loved those Streisand-inspired lyrics by Sondheim
(“Don’t tell me she designed those clothes, even the needy don’t need
those!), all 127 verses! Of course, it wasn’t until I really listened again
that it occurred to me how hard that medley was. It’s like running a
marathon! From 127 verses, to “Everybody Says Don’t,” an up-tempo
barnburner, to the driving, pounding, dramatic tour de force “Don’t Rain On
My Parade.” It doesn’t just take a good voice to do all that, or a wonderful
actress to make it all work; it takes a mythic goddess of music and theater!
I’m not kidding. I understand now why Barbra altered it – to do that at the
very start of the concert had to be a wipe out. In fact, if you listen
closely, you can hear her summing up the breath and will to bring it home
with a flourish. And because she’s Barbra, SHE DOES!
But physical, athletic prowess doesn’t begin to tell the story when it comes
to Barbra. That’s just a part of the package. She’s also the ultimate
chameleon in song. Try this for fun: listen to “Adelaide’s Lament” followed
by “After The Rain.” What you’ll hear is two remarkable characters in song.
Different women, different moods, different energy, different delivery; same
singer, same attention to detail, same understanding of lyrics, same quality
throughout.
Hercules and chameleon… People should never wonder why Barbra Streisand has
been so successful in the ever-changing, ever-volatile world of music. She
has proven that more than just a marvelous voice and great approach, she’s
the complete package. She was when she began and so she remains.
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
06 May 2005
There's a song
I must sing...
One of the nice things about having an Ipod is getting to have a wide
variety of music in one place at your disposal. It’s like having a juke box
in your hand, and if you’re a Streisand fan, it’s a kick to have 300 or so
Barbra songs at your fingertips. It’s also pretty illuminating.
For instance, this morning I heard this group of songs: “I Can See It,” “I
Believe” and “I Had Myself A True Love.” (I was into the “I”s obviously!)
What struck me suddenly were the arrangements. Peter Matz’s work on “I Can
See It” is the perfect compliment to Barbra’s vocals. He does with the
instrumentation what Barbra does with the lyric; that is, they both
understand the intensity and dynamism of the song. It’s about going out into
the world and taking chances…even if you fall. With brass and woodwinds and
strings, Matz enlivens the background for Barbra’s performance, but never
distracts or obfuscates. In Barbra’s music, Matz’s arrangements are more
than just support – they’re partners in performance.
I think Barbra needs another Peter Matz in her musical life. The vibrancy he
brought to her recordings is missing these days. That’s not to say the
arrangements of late haven’t been good. They are. They’re beautiful, like
the one for “I Believe.” It’s lush and full and loaded with strings. But as
wonderful as the music is itself, where is the drive and drama? It’s like
the beauty of the music is more on display than the passion behind the
words. For some songs, that’s fine, but not every song, every time.
So I’m really looking forward to what Barry Gibb will bring to Barbra’s
songs in this new CD. I’m looking forward to another angle, another take.
And I hope this is just the start of Barbra returning to her experimental,
old self. I want her to go out on a limb, professionally speaking. I want to
hear her backed by brassy arrangements – how about Artie Butler ("You're The
Top" again? I want her to explore acoustic rhythms – maybe do a whole
“unplugged” CD with just guitars, harps and cello? Wouldn’t it be cool to
hear what someone like Paul McCartney would write for Barbra – with George
Martin producing? Or Sting?
One of the things about growing older, as Barbra has said, is that you’re
less afraid to take risks. That’s how I think, too, and that’s what I want
for Barbra. It’s time to be wild and crazy and daring. It’s time for her to
do something as daring as her first album was. “The Barbra Streisand Album:
Again.” Wouldn’t that be a hoot!
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
26 April 2005
I Don't Want Much, I Just
Want More
It doesn’t seem possible that Barbra Streisand celebrated her 63rd birthday
this week. But then it doesn’t seem possible that I’m going to celebrate my
49th in December? Where has the time gone? Is it really possible that I’ve
spent 36 years following this woman’s every professional move, each song and
scene, every album and film, all the concerts and interviews, and still want
more? The answer to all these questions is yes, yes, and yes!
But Barbra should be the first to understand that – hasn’t she always wanted
more? I thought about that just the other day when I was reminded that this
week marks the 40th anniversary of “My Name Is Barbra.” In 1965, Barbra’s
first TV special must have looked like the most outré thing ever to hit home
screens. Think about it: a singer with four top albums who is also a major
phenom on Broadway comes to TV in her first one-hour variety show and does
it without a single guest star. She doesn’t speak to the audience for the
first 20 minutes. She sings nearly non-stop from the opening and vaguely
bases the introductory sequence on her own life story. And despite her
supposed appeal as the quintessential ugly duckling, she looks completely
beautiful and dynamic and boldly alluring. By the time the first act came to
an end, audiences must have been wondering: Who is this Barbra Streisand
person?
In Act 2, she turned her diamond persona to reveal more facets. She appeared
in corduroy slacks, a turtleneck sweater and a pixie haircut. Whoa! Was this
the same girl from the first act? She proceeded to joke around, playing at
being a kook and a nudnik when it was clear she was anything but that! By
Act 3, when the girl and the kook came together and emerged as the woman and
the star, Barbra Streisand had already conquered America with her style and
presence and humor and music and personality. The medley from “Funny Girl”
just added to her luster. The finale – “Happy Days” over the end credits –
was the coup de grace; the cherry on the top of the sundae.
“My Name Is Barbra” was a dazzling display and the theme was presented in
Barbra’s first onscreen song, “Much More.” Here was a star not content with
what she had. Here was a star poised for every challenge. Here was a person
who demanded the best from herself and was prepared to give it back to the
world – in spades! In the years to follow, she’d deliver on that promise of
more. She’d give us “Everything” and “A Piece of Sky,” too. She’d never be
“Guilty” about her “Life Story.” She’d give us “Memories” – light up like a
light, all flickered and flared up.
On Sunday past, the birthday girl – lady – became three score and three.
She’s done so much over the years; we have to wonder how much more there’ll
be. I know there are fans out there wondering – and worrying – but I’m not.
See, I still believe that girl from “My Name Is Barbra” who promised us
“Much More.” I believe as much as we’ve gotten from her – all those songs
and scenes -- there’s more still to come. And we’ll be ready, willing and
wanting everything she’s got to give!
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
20 April 2005
...She’d
Pass The Test
I know I’m in the minority on this one, but I don’t like American Idol. The
show is a phenomenon, with fans around the world. It’s a variation on the
old amateur hour, with a bit of The Gong Show thrown in, but whatever the
formula, it’s captured the imagination of millions. I’m not one of them.
I know it’s very popular, and I know legit voices have emerged from the
contest, but still, something about the whole process irks me. I think the
really basic problem I have with AI is that I don’t believe for a second
that a truly unique and legendary talent like Barbra would have ever made it
past the first audition. And not just a Streisand either. You could say the
same for a Bette Midler or a Jennifer Holliday or a Stevie Nicks.
Individualism isn’t encouraged, and from what I perceive, it only gets worse
as the competition progresses.
Well, last
week, I heard that Ms. Paula Abdul, her of the miniscule voice and one-hit
wonder status, dared to diss La Streisand. Fortunately, many people (other
than me) called her on it. Let's hear it for USA Today's Edna Gunderson, for
one. She wrote about "judge" Paula comparing a contestant's rendering of
"People" to Barbra's inimitable performance. Gunderson wrote what many of us
felt, "The steadily improving Vonzell Solomon stepped out on a limb with
‘People’ and held her own, though it was nowhere near as dazzling as Paula
Abdul's fawning appraisal suggested. Telling this green singer she's hitting
notes Barbra Streisand wouldn't attempt is laughable Idol propaganda that
makes a mockery of an already dubious judging process."
No truer words
were ever written. The episode I saw – the one where contestants were asked
to sing Broadway material – was more an indictment of the judges than the
performers. How else can you explain Simon calling “Hello, Young Lovers”
boring? And Randy denigrating the likes of Rodgers and Hart with his
reaction to the song choices? You can understand if these young performers
don’t understand or appreciate theater music – maybe they haven’t been
exposed to it that much (like if they've lived in caves or subterranean
villages) – but what excuse can supposed “judges” have? Can't they hear the
words and understand that there's intelligence and wit and emotion behind
them? You mean if it's not the current pseudo-English hip-hop venacular it
has no relevance? Boo-yah!
Anyway, back to Barbra: it’s my feeling that her talent is such that she
would have overcome the likes of Simon and Randy and Paula and succeeded
anyway. After all, as New York Time’s critic Clive Barnes once wrote of
Barbra: “Talent such as hers will not break when tested; it becomes
enriched.”
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
11 April 2005
…Something's
Coming!
It seems like Sony is really psyched about Barbra's reunion with Barry Gibb.
How else can you explain last week's press release crowing about the
collaboration -- before the two have even been in the studio yet! That's
enthusiasm, my friends, and I -- for one -- couldn't be happier. Barbra
deserves Sony's unconditional support and promotion. She's their queen for
over four decades! In this day of shifting loyalties, Columbia and Streisand
have remained a true and lasting alliance -- one that has been good for
both. For Sony, it's been a sure thing when it comes to Barbra. She's
delivered gold and platinum like no other female vocalist. And more than
that, she's brought class and quality to the label. They'd be nuts to ever
let her get away.
So, that said,
I think it would be a great thing for Sony to really celebrate Barbra with
this new release in September. There should be massive publicity, starting
with a video-featurette that uses footage of Barbra and Barry from the
Grammys (when they presented to Billy Joel) and "One Voice" and photos from
their working together now and in the past. They can show how "Guilty" was a
worldwide success and a multi-platinum hit. Sandwiched with that material
should be interviews with Barbra and Barry about the past, present and
future. And to make it all really cool, the featurette should be a DVD
special -- maybe one of those CD/DVD dual disks that are really hot right
now.
Hopefully,
Sony will be even more gung-ho about this idea when the songs are sung and
the music is mixed. And even more hopefully, Barbra will be ready, willing
and able to tell the world about how excited she is to be collaborating with
Barry again. Optimism is high. Anticipation is delicious. Waiting is hell.
Ah, yeah, the life of a Streisand fan!
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
30
March 2005
…An Actress…and a Model!
Did you read this week that Whitney Houston has gone back into rehab? Billy
Joel, too – for the third time. My, my, my… How? Why? What happened? Those
far wiser than me will try to figure it out, I’m sure. One thing I do know,
though, is this: I’m grateful and relieved that I’ve never, ever had to read
about Barbra in those terms. She’s been strong and stable and a role model
with feet of granite, not clay. Of course, she’s also been lucky – and so
have I. When I was blown away by Streisand at age 12 while watching Funny
Girl, I had no way of knowing what kind of person she was. I had no way
of knowing that in the face of enormous pressure and temptation, she would
not succumb to booze or pills or dope or smack to make the days livable. She
was like Judy Garland vocally, but not psychologically. As I said, she was
lucky and so was I. Barbra was determined to reach the pinnacle of show
business and wasn’t going to let anything or anyone get in her way. She had
tunnel vision and it worked for her. And when she got there, metaphorically,
she began playing king of the mountain. She had no intention of abdicating!
I can remember vividly what it was like to “discover” Barbra Streisand.
After the credits rolled and the exit music played, I had to find out
everything there was to know about Barbra. It was not Fanny Brice I asked
about; it was the woman who played her in the movie. In the weeks and months
that followed, my interest became more and more intense. It seemed the more
I found out, the more I wanted to know. Every magazine article reinforced my
feelings that Barbra was the best – simply the finest, greatest and most
worthy star in the galaxy. There were others I liked, naturally, but only
Barbra sent me scurrying to the public library to find back issues of
Life and Look and Saturday Evening Post to read all about
her! I became quite adept at deciphering The Readers Guide to Periodical
Literature, not to mention the card catalog, reference racks and
biography sections! Any tidbit about Barbra was of interest to me, from her
love of Breyer’s coffee ice cream to her fascination with art deco design.
When you’re a fan, if you have that kind of disposition, you never know why
someone may appeal to you. Once in college, I had a hot dream about Robert
Conrad and became a fan of The Wild, Wild West – go figure! With
Barbra, I think there was something about her strength of character, her
passion and drive, plus her vulnerability and tremendous heart, that was as
compelling as the incredible talent she displayed. All of it combined to
impress my 12-year-old psyche like nobody else ever had. And I obviously was
not alone. She knocked a lot of people out.
But as I said, I was lucky. The object of my fandom turned out to be a true
role model. Barbra’s been someone that I could be proud of. She’s never
gotten in trouble, never over-indulged, never wound up in rehab. She set the
bar high, achieving so much and yet always challenging herself to be better.
When people have asked me, why do you like her so much, I’ve always
explained that it’s more than just her singing and acting and artistry.
Barbra is someone I could emulate – and in many ways, I think I have.
So, my heart goes out to Billy and Whitney and the other stars who’ve
wrestled with their demons in public to the point of obscuring their
talents. At the same time, my pride, respect and appreciation for Barbra
Streisand grows stronger. Thirty-seven years later and she’s still my role
model.
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
20 March 2005
…It's Just Like Liza Said
I had a real treat this week. I was clicking around the channels and
discovered The Prince of Tides on the Starz Love Stories. I didn't
even know there was a Starz Love Stories channel, but after hearing just a
few notes of James Newton Howard's luscious score, I was tipped me off that
Nick Nolte's tawny, brawny visage was coming into focus. And when the camera
swung around through the Greenwich Village party scene to show Ms.
Streisand, all in white with gold jewels dripping from her ears and hugging
her neck, I was completely besotted. She smiled, she laughed, her eyes
twinkled and I was unable to turn off the TV. Once again, I was in the palm
of Barbra's hand -- just as I had been 37 years before when she looked into
a full length mirror and said, "Hello, gorgeous."
New Yorker magazine film critic Pauline Kael used to write about
Barbra's incredible empathetic appeal. And Kael was right. Barbra's
connection to the audience is as intense as Audrey Hepburn's or Bette
Davis's, to name a couple of other actresses who were larger than life. With
Barbra, the emotion feels even stronger for me -- and you, too, I'm
thinking. You watch her on screen and she somehow plugs into you on a
visceral level. You feel what she feels. You feel for her, so when Katie
cries because Hubbell has put the crib together, but won't be staying with
her long enough to see baby Rachel in it, your heart breaks as if it was you
laying in that hospital bed. When Gregory finally tells Rose that he loves
her no matter how beautiful she is, your heart swells with joy like hers
does. Such is Streisand's special appeal as an actress.
There's one moment in particular in The Prince of Tides that stands
out as perhaps her greatest non-singing, non-speaking film performance.
Someone smarter than me referred to it as the ultimate in cinema acting
because it's all done without a word -- just her face. It's in her eyes and
expression. You've probably guessed what scene I'm talking about: Tom is
waiting across the street from Lowenstein's office, knowing that he's
decided to go back to Sallie. It's the end of their affair -- but not their
love -- and Lowenstein doesn't know it yet. She steps out of the office onto
the street and sees Tom. In seconds, she knows. He's going back to his wife.
In that few seconds, Barbra enacts the world of joy and love collapsing into
despair and separation. Her heart breaks all over her face, if you can
imagine such a thing. Her eyes fill with tears and her lips curl
sardonically. She inhales sharply. You hear her papers drop from her hands,
but she doesn't utter a word. Without even a sigh, we know she's shattered.
It's in this brief moment that Barbra's given us the emotional sock the
scene demands. It is perfection, and probably more powerful than the crying
and hugging and dialogue that follows.
In That's Entertainment, Liza Minnelli talks about her mother's film
legacy and says that the wonder of motion pictures is in the medium's
ability to capture performances. She says, "Thank God for film," and I have
to agree. In Barbra's case, film has captured not only her wondrous
performances in song -- like the majesty of "My Man" and the sheer,
electrifying soar of emotion in "A Piece of Sky" -- but also her brilliance
as an actress, whether that's Lowenstein's reaction in Prince of Tides,
or Judy's cocksure stance while descending the escalator in What's Up
Doc? after defining the word propriety!
Channel surfing last week reminded me of Liza's words and Barbra's
brilliance. Thank God for film indeed!
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
15 March 2005
…The Joy's In the Work
There was a story in Playbill the other day about Barbra. Senior
editor Louis Botto recalled visiting Barbra when she was doing I Can Get
It For You Wholesale -- and stealing the show. He said that in her
dressing room, right after the show, he found Barbra busily writing away
when he wanted to interview her. He asked what she was writing and learned
that she was making notes for her fellow actors and the production crew
about how to improve the show! She may have been just 19-years-old and just
a featured performer, but she was Barbra Streisand and she cared too much to
let the show and the performances slide into laziness. It was likely the
first indication that this woman was born to be a director.
I thought about that when I tuned in to the reality series Project
Greenlight. That show gives neophyte filmmakers a chance to make a big
screen motion picture. Candidates submit a screenplay and a contest decides
who gets the chance to make their film -- for Miramax with Matt Damon and
Ben Affleck producing. It's their chance to make a dream, reality.
Watching what it takes to shoot a picture, I got to thinking about Barbra.
Sure, she had the desire and drive to direct way back when she was still a
teenager on Broadway. But when you really see what goes into directing a
film -- all the details, the information, the knowledge, the cajoling, the
energy and the will -- you have to marvel at Barbra's courage. It's one
thing to think you can do something; it's quite another to actually be able
to do it.
Barbra literally put her head on the chopping block when she fought to
direct and produce Yentl. It would have been easier and less risky to
leave the ultimate choices to someone else. Easier, yes. Better, probably
not. It took a leap of faith for her to make that film and test her mettle.
She had everything to lose. What she might gain was unknown. But the
experiences she'd learned working in film for over a decade prepared her for
the slings and arrows, if not the day to day angst and agony.
The fact that she took to the challenge like a duck to water was a bonus.
The days were long and hard and unrelenting. She compared the grind to doing
hard labor. In the midst of the struggle, she seemed worn down and
disheartened. Fortunately, there was light at the end of the tunnel. She
survived -- and thrived. And when it was nothing more than a memory, Yentl
reinforced Barbra's mantra -- the joy is in the work.
Looking back now, it's clear that Barbra gained a lot with Yentl.
Professionally, it set her apart. She proved that she was more than greatest
star. She was the greatest -- period! And on the personal level, the
confidence and liberation of making that dream a reality, has fueled the
second half of her career. Once she did what she did with Yentl,
everything seemed doable. As she said in the film -- and as she proved in
life -- for Barbra Streisand, "Nothing's Impossible."
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
8 March 2005
…Why I Prefer to Stay At Home
I was really happy to see Barbra presenting the Best Picture Oscar to Clint
Eastwood last week. She and Dustin seemed very cute together, comfortable
and unconcerned that they were being watched by a billion people around the
world. Heck, Barbra even admitted on air that she'd forgotten her glasses.
And to read some bloggers out there, Dustin might have been imbibing a bit
of the bubbly before heading to the podium because he seemed tipsy. But, to
me, neither showed any hang ups about how they looked or sounded or
anything. They seemed secure in their skin, secure in their stature. Perhaps
even basking in the light of four decades worth of work as professionals in
their chosen profession who've been acclaimed and lionized for their
accomplishments.
Walking off the stage, posing for photos with Clint and the producers,
schmoozing at the Governor's Ball, making an appearance at another shindig,
I'm certain that Barbra felt pretty happy. It was a good night. She looked
radiant in the candid photos especially, with James on her arm and friends
all around. She looked wonderful
Then came the morning after. While most fans were quite pleased with
Barbra's Oscar twirl, there were critics elsewhere who couldn't get past the
superficial. One columnist claimed that Barbra's dress was purple and she
should leave that color exclusively to Prince! Apparently, that writer was
not only color blind (the dress was blue!), but also discriminatory…or a
Prince-ophile. But the majority of Streisand commentary seemed to center
around her weight. She looked heavier, that's true, but perhaps it was the
dress more than her body. Her face, as someone pointed out, did not look fat
at all.
Nevertheless, let's assume that Barbra has gained some weight -- does it
really matter? After all, she's working on an album right now; she's not
making a film. She's allowed to indulge in her love for food and enjoy life.
There's not a damn thing wrong with that. Also, at this point in her life --
and following her recent health scare -- the lady's entitled to do as she
pleases.
But I have to say, reading the critical jibes and listening to the
post-Oscar divas with their holier-than-thou attitude, I was reminded of
Barbra's song from Superman, "Don't Believe What You Read." You know
the part… "Dinner and a movie, I'll just show my face in town. Rumors fly
so fast that I don't try to live them down. Gets old answering questions why
and trying to explain. Why I prefer to stay at home with friends and
entertain."
You know, if I were in her shoes -- pretty as they may be -- I might
have stayed home and watched the Oscars on TV and avoided all the tumult.
And if I was Barbra, I'd order pizza, too, and maybe follow it up with a
coffee hot fudge sundae with a Diet Coke on the side. Screw the diet till
Tuesday.
--
Allison J. Waldman
Email
Allison:
barbfile@aol.com
25 February
2005
Misery Loves Happiness?
When Barbra won the Oscar for "Funny Girl," she said -- among other things
-- that she'd be miserable if she was happy. It was a funny line. However,
now I think she really is happy. She's more content than probably any time
in her life. So, does that mean she's miserable? Ummm, I don't think so. You
see, if Barbra was miserable, I think we'd hear it -- in her music.
Think about it: Barbra's life seeps into her music. Her music is a
reflection of where she is in her personal life. In the early years, she had
a rebellious, angry, hungry streak that came through in songs like "Where Am
I Going," "Much More," "Down with Love" etc. Of course that wasn't all she
sang, but there was an energy there that she didn't have later on.
The 1970s was another reality for Barbra. She was a single mom for a lot of
the time; dated different men, from Pierre Trudeau to Jon Peters; and lived
the California life. In her music, you could tell it was a period of
experimentation, self-examination, new influences. She was California cool
with songs like "I Don't Know Where I Stand," "You've Got A Friend,"
"Lullaby for Myself." Again, not all her music, but a chunk of it.
The 1980s, I think, reflect the journey complete. She'd found out as awful
lot about herself and she was a woman content and confident -- and her music
showed it. She was okay with collaboration; welcomed it when the
collaborator was a Barry Gibb. But she was nobody's puppet. She dreamt big
-- "Yentl" -- and when doing the pop diva thing seems ill-advised, she chose
a return to her root -- "The Broadway Album." Today, she has continued that
confident daring with albums like "Higher Ground."
So, now, when fans wonder where is that sardonic, sassy girl who sang "Much
More" and "Cry Me A River" with ironic bitterness, Barbra has been there,
done that. She's outgrown that hunger and anger. That's not to say she's fat
and sassy, but she is happy with herself and her personal life. And, what do
you know, she's happy and not miserable! Sorry, Barbra, you got it wrong.
-- Allison J. Waldman
Email
Allison:
barbfile@aol.com
18 February
2005
That Kook From Madagascar
It's been a long time since anyone referred to Barbra Streisand as a kook.
When you're over 60, I guess you lose your kook status. Especially when
you've won every major award imaginable, carved out a legendary career,
endured and thrived over four decades in a cut-throat business, and continue
to be a vital, active and arresting presence in everything you do. The only
thing kooky about someone who can do all that is that you're probably in a
class by yourself.
It's true, you know. Barbra doesn't have many peers. Not really. She’s
really been a singular sensation. She's done so much more that Bette or Liza
or Cher or Madonna or Meryl or Jane. Think about it -- Broadway, nightclubs,
concerts, television, movies, producing, directing, writing, composing… When
you talk multifaceted, you're talking Barbra. That’s not to say anyone
else’s career isn’t of value. Not at all. But there’s something remarkably
magnificent about Barbra that no matter what she does, she does it in a big
way. The world takes notice. She matters and she always has.
Which brings me to a pet peeve of mine: I've had it up to my double chin
with the fans who bemoan the lack of quantity in Barbra's career, in
particular, her filmography. Do they really have to be so hard on her? Do
they really think it was so easy to navigate a career of her magnitude? Come
on – think about it!
Now, could she have done more? Sure. But would any of us trade her two
concert tours in the 90's for two more films? I don't think so. You think
Sally Field or Goldie Hawn don't wish they had concerts like Timeless and
The Concert on their resumes? Okay, maybe that's not fair -- they're not
singers -- but you know what I mean. Barbra’s career speaks for itself in
scope, dimension, quality and artistry.
So, here's my advice for grumpy fans who feel that Barbra's lazy, or those
who stay up nights worrying about her semi-retirement: Go read her bio. The
lady's has worked her buns off for a very long time! She may not do quite as
much in the future, but be assured, she ain’t about to disappear. Not now;
not ever. That would just be too damn kooky.
-- Allison J. Waldman
Email
Allison:
barbfile@aol.com |