Barbra Streisand: The Legacy Collection
Exhibit Notes...take a virtual tour.

Exhibition Program (This is a text walk through of the display) For photos sclick here   

Produced & Program Compiled by
Lou Papalas, President,
C.A.S.A. de louis, Inc.

This exhibit was created from the personal collection of Lou Papalas and enhanced by donors from The
Barbra Streisand
Legacy Collection Association.

I would like to convey a special “Thank You” to these generous donors:
Devin Bliss,
Deborah Burke,
Marsha Tysseling, Star Wares Collectibles
Jerilyn Brown, Star Wares Collectibles
Matthew McCaffery,
Charles Moniz, Baby Jane Collectibles
Donald Softness, The Softness Group
David Salyer
Mary Haag
Joan Haag
Jeffrey Laymon
Pamela Jean Miller

My “Very Special Thank You" to Pamela Jean Miller, who committed weeks of labor and love to assist with
this Exhibit…

Also a “Big Thanks” to…

Kevin Smith - for his editing skills…
Woolsey Ackerman - for his couture content…
Laurie Hurst – for her music and movie chronology  
and…Devin Bliss…for his invaluable research expertise.

“My appreciation for your ongoing efforts, friendship and support shall never diminish or wane.  You are
the best!”

Biographical Exhibit Highlights

Funny Girl to Meet the Fockers

Barbra Streisand’s first movie Funny Girl in which she boldly and dramatically sang, “I’m the Greatest Star,”
is the focus of this

In 1969, Barbra won an Academy Award for Best Actress for her performance as Fanny Brice in this
acclaimed musical
blockbuster, Funny Girl, her first film. (She tied with Katherine Hepburn.)  When Barbra received her
award, and as she
accepted the Oscar, she wittingly remarked in perfect Brooklyneese, “Hello Gorgeous!”  Her comment is
remembered today,
as is the Scaasi-designed, scandalously sheer, over blouse and pants outfit she wore.  Scaasi took
possession of that outfit
once again after winning it on the internet auction site, Ebay, in 2004.

Barbra starred in the Broadway production of Funny Girl in 1964 prior to making the film.  Although she did
not receive a Tony
Award for either her performance as Miss Marmelstein in I Can Get It for You Wholesale, or for her starring
role as Fanny Brice
in the Broadway production of Funny Girl, she was awarded a special Tony in 1969 as “Star of the Decade.”

Her Miss Marmelstein performance did win her the New York Drama Critics’ designation as “Best
Supporting Role in a
Musical.”  This was Barbra’s first award of any kind!

The top half of an original Funny Girl Broadway banner and international Funny Girl movie posters are
featured in this exhibit.

In the octagonal case detailing Barbra’s youth and early career later in the exhibit, you can read her
notorious and boldly-
fabricated biography and see her photo and program from I Can Get it For You Wholesale.  Be sure to
examine the amazing
reviews from her performances.

Barbra is pictured with Fanny Brice’s daughter, Frances Stark, in the framed photo adjacent to the yellow
roses on top of this
case.  Mrs. Stark is also the wife of Funny Girl producer Ray Stark.

A one-of-a-kind pregnant bride doll that is inspired by the film’s comedic “His Love Makes Me Beautiful”
musical number is
featured in this display, as well as some behind-the-scenes and rehearsal photos from the movie
production of Funny Girl.  The
doll, with an image slightly similar to Barbra’s, was created by a Hollywood make-up artist.  Although the
doll’s face does not
truly capture Barbra’s unique beauty, the detail of the gown is impeccable.

(Note:  the blue marble egg is similar to the one featured in the film, Funny Girl set, but is not an authentic
item.  It is used solely
for display enhancement purposes only.  Also note that the swan feather headdress, although native to
the film, was worn in
the “Swan Lake” sequence by one of the supporting cast members, not Barbra herself.)

Notice an original Funny Girl printer’s plate used for theatre advertisements and press books.  A similar
white printer’s plate
utilized for the film Hello Dolly is also presented in the “The Movies and the Music” section of the exhibit.
Observe the reverse
images on both.

Programs from both the movie and Broadway performances of Funny Girl are on display, as well as
magazines from around the
globe, heralding Barbra’s acclaimed performances.

Barbra, who describes her career and herself as "a work in progress” and who, nearly forty years ago,
when starring in Funny
Girl, told the world, “I’m the Greatest Star,” periodically reminds us that she is still going strong as she did
when she sang to the
world, “I’m Still Here” during her 1994 concert, and then proved it to us once again in 2005 when she
played Roz Focker in the
record breaking comedy, Meet the Fockers.

The Contracts

Barbra’s eight night club contracts, some of which are the earliest of her career as a performance artist,
are being premiered
at this Hollywood Museum exhibit.  Until now they have been secured in the office of her first manager,
Ted Rozar.  They were
discovered in 2005 when Guernsey’s Auction house in New York City was preparing for an auction for the
great jazz musicians
of the 20th century.  Ted Rozar also represented Louie Armstrong.  These contracts are a rare find and are
being exhibited for
the first time EVER here at the Hollywood Museum!  The contracts reflect Barbra’s immediate success as a
club headliner.  
Note the rapid salary growth, performance conditions, and guarantees included in the contracts from her
1961 and 1962

Barbra’s contract with The William Morris Agency is also included in the contract display.  It was
anonymously donated to this
exhibit.  This is Barbra’s first important contract with a major talent agency, and was signed during the run
of her first
Broadway show, I Can Get It for You Wholesale in 1962.  Because Barbra was under 21, it was also
executed by her mother,
Diana Kind, who, although remarried, ironically signed her former widowed name, “Diana Streisand.”

The Bon Soir ad was recreated for use in the Just for the Record album and video.  The finished video was
never released
publicly, but an unedited and incomplete copy has found its way into the hands of many fans.  Perhaps one
day soon, a
complete career DVD incorporating this tape, will be produced for all to enjoy!

The two pictures of a very young Barbra were taken by Donald Softness, who was responsible for Barbra’s
very first publicity.  
Barbra had keys to his studio when she was “sleeping around” Manhattan in the exciting and lean years of
her career.  These
photographs have neither been exhibited before, nor published prior to this exhibit, as they have been in
Mr. Softness’
possession until he loaned them to the Hollywood Museum.

Mr. Softness also possesses one of only two copies of Barbra singing two demo songs with piano
accompaniment only.  That
recording was used prior to preparing the very rare acetate demo for RCA records.

Early Live Appearances & Television Specials

Barbra Streisand made her first TV appearance on April 5, 1961 on The Jack Parr Show.  She had flown in
from her first non-
New York City singing performance at the legendary Caucus Club in Detroit, Michigan.

An interesting aside: A much smaller exhibit entitled "Barbra Streisand...a Tribute to a Legend” was
produced at The Caucus
Club on the occasion of Barbra's 60th birthday in 2002.  A poster from that event is featured to the right in
this display case.  
Lou Papalas, curator and producer of Barbra Streisand: The Legacy Collection here at the Hollywood
Museum, also produced
that exhibit.

Barbra headlined, or was the only performer in nine (9) television musical specials throughout her career.  

4-28-1965     My Name is Barbra                                   
3-30-1966     Color Me Barbra                                                        
9-16-1968     A Happening in Central Park                                 
10-11-1967   Belle of 14th Street                                    
11-2-1973     Barbra Streisand and Other Musical Instruments                                                 
12-27-1986   One Voice
1-11-1986     Putting It Together:  The Making of the Broadway Album               
8-21-1994     The Concert                                                 
2-14-2001     Timeless                                                   

Barbra guest starred on many musical variety shows in her early career including The Mike Douglas Show,
The Dinah Shore
Show, The Ed Sullivan Show, The Bob Hope Show, The Judy Garland Show and The Burt Bacharach Special.

Streisand-Designed “Sailor” Tops
from The Judy Garland Show, CBS - 1963
(Courtesy of Devin Bliss - Phoenix, AZ)

Throughout Barbra’s early career, aside from liking to shop in thrift stores, Barbra loved to design
clothing.  The “sailor” top
greatly influenced her early creations.  She designed two almost identically-styled blouses (both in this
exhibit) for her 1963
bookings and appearance on The Judy Garland Show.  The first of the two (to the left), is the Navy Sailor
Top, in navy satin with
cream satin piping & bow, featuring full-length sleeves, three rows of piping at the cuffs & waist, and a
band of piping around
the wide neckline. The Burgundy Sailor Top (to the right), is identical in the alternate color, but
incorporated an attached bib
collar, which was removable.  Barbra chose this top, sans the detachable collar, for her appearance on the
The Judy Garland
Show which aired on October 9, 1963.

Barbra’s performance that night was both historic and legendary.  Barbra later remarked that Judy was
trembling when she
held her hand during their duet together.  That show has been likened to the passing of the torch from the
greatest female
performer to her successor.  The show also featured a performance by the three “belters,” Barbra, Judy,
and Ethel Merman.  A
photographic proof sheet of these three legends is highlighted at the bottom left of these case.  In
retrospect, the performance
also was remarkably significant, as it marked Barbra’s last guest appearance on any television show until
she obtained her
own superstar status.

Allegedly, Martin “Marty” Erlichman, her long time manager, informed Barbra that she could never top that
guest performance.  
He advised that she do no more guest spots.  Interestingly, Barbra and Marty have never had a written
arrangement, despite their longevity together.  Marty so strongly believed in Barbra’s future when he first
saw her at the Bon
Soir in New York City that he asked to represent her using a pay phone booth as his office, and a roll of
dimes as working
capital.  He has managed Barbra most of her career from that day forward.  Marty is pictured in the Barbra’
s Favorite People

Also of major significance is that both Barbra and Judy were individually nominated for an Emmy as
“Outstanding Performance
in a Musical or Variety Program” on The Judy Garland Show.  Barbra reportedly was relieved when the
award was presented to
Danny Kaye, as she felt it was inappropriate for her to have competed in the same category when she was
merely a guest on
Judy’s own show.  Nonetheless, this was the most monumental pairing of the world’s greatest talents in
the history of
television – ever!

Barbra also appeared on The Garry Moore Show, What’s My Line?, Geraldo Rivera, The Tonight Show with
Johnny Carson, The
Barbara Walters Specials, Larry King Live, Oprah, and most recently on The Actors Studio, to name only a
few.  Her appearance
on Saturday Night Live as a walk-on in a Madonna/Roseanne skit, was recently declared number 22 in the
Top 100 Greatest
Surprises in Television History!

Most of Barbra’s early performances are archived on tape, but her very first appearances on The Mike
Douglas Show, when
she guest hosted for a week, are presumably lost forever, as they were taped over.  (If anyone reading
these notes knows
otherwise, or has access to these performances, please contact Lou Papalas at
or call him at 248-

Streisand-Designed “Sailor” Gown
from My Name is Barbra, CBS - 1965

Shortly after her appearance on The Judy Garland Show, Barbra was signed for a series of specials with
CBS, the first of which
was titled, My Name is Barbra.  It initially aired on April 28, 1965, four days after Barbra’s 23rd birthday!  This
was the first time
in television history where an artist performed for an hour without a guest star, making it a risky, but highly
production.  Barbra won the Emmy for this, her very first special.

The iconic My Name is Barbra Sailor Gown is featured in its own case in the center of this exhibit.  Keeping
with her thematic
“sailor” concept, Barbra designed this blue wool and silk dress, featuring a blue wool shell and blue silk
chiffon overlay,
adorned with white linen cuffs and collar, trimmed with blue ribbon.  Under the collar, a tied red bow is
highlighted, streaming
down the front of the gown.  The larger world was introduced to Barbra while she was wearing this
wonderful creation. Barbra
commented, as she accepted the Emmy award for that program, that more people saw her on My Name is
Barbra (and in this
gown) than if she were to have continued to play Fanny Brice in Funny Girl daily for 58 years.

Barbra’s second television special for CBS, often referred to as the “other bookend” to her black-and-
white My Name Is Barbra
a year earlier, was shot in color, a brand new medium for its day in 1966.  It was appropriately titled, Color
Me Barbra.  Two
costumes from Color Me Barbra are also included in this display.

“Modigliani” Dress from Color Me Barbra, CBS - 1966
Designed by Fred Voelpel
(Courtesy of Devin Bliss - Phoenix, AZ)

This simple, full-length black wool gown, features a “crooked,” intentionally off-center, silk collar which
snaps into the neck,
and full-length sleeves that zip at the cuff.  In this whimsical creation, Barbra emulated the Modigliani
painting, “Portrait of a
Polish Woman,” recreating the same dress as drawn by the artist, and in which she sang “Non C'est Rien.”

Gold-Sequined Leotard/Jumpsuit
from Color Me Barbra, CBS - 1966
Designed by Norman Norell
(Courtesy of Charles Moniz - Los Angeles, CA)

On the same television special, Barbra wore the pajama-style leotard/jumpsuit, with full feet, constructed
of silk chiffon,
completely covered with hand-sewn gold sequins, featuring a self-belt area at the waist also comprised of
sequins, with full-
length sleeves and zippers at the cuffs.  The leotard/jumpsuit was also worn by Barbra solely as an outer
garment in numerous
advertising promotions, including the famed concert at the Newport Jazz Festival in Newport, Rhode
Island in 1966. An
interesting note about the couturier, Norell:  Barbra had a fascination with his creations in her early years,
as he was the first
American designer to ever have his name on a dress label.

Barbra’s short hairstyle and Cleopatra-styled makeup took the country by storm.  The hairstyle Barbra
sported during this
period was radical for its time.  Many women, and yes even a few men who wanted the “Streisand Look,”
copied her unique

Part of what makes Barbra’s fans love and respect her so much is that she has remained true to herself.  
She refused to alter
her name to Barbra Sands as it was suggested, and she kept her unique looks when everyone else was
trying to be
traditionally “Sandra Dee” beautiful.  Despite suggestions to do so, she never altered her nose.

Barbra’s defining profile has become her trademark, so to speak, one which enhances her unique and
distinct beauty.  Her
profile has been captured by many acclaimed photographers.  In later years, much was written regarding
Barbra’s insistence
upon being photographed from the left. However, in some of the early photos, like many in this exhibit,
Barbra is featured from
either side.

Paisley Jeweled Silk Gown
from A Very Informal History of the American Musical Theatre,
American Embassy, London - 1966
Designed by Bergdorf Goodman, New York City

Also on display is the copper jewel-encrusted silk and chiffon gown designed especially for Barbra by New
York’s Bergdorf
Goodman. This is also where she shot segments of My Name is Barbra.  She wore this translucent,
sparkling gown at a benefit
concert during the time in which she was performing in Funny Girl in London, on June 12, 1966.  The
concert, with an audience
of merely 200 people, was produced at the American Embassy, and paid tribute to the 40 years’ evolution
of the American
musical.  Barbra headlined the event, and shared the stage with American composer, Cy Coleman.  She
has likewise been
photographed in this gown many times, including her appearance on the cover of Predictions magazine
with Elliot Gould and
Lesley Ann Warren.  (Gould was her first husband, and father of her only son, Jason.)  These photographs
are adjacent to the
gown in this exhibit.  Barbra has also been photographed in the gown with Noel Coward.

Barbra’s third television special titled, Belle of 14th Street, although considered innovative, was a stretch
from her former two
ventures, as it was the first time she integrated guest performers.  Some critics surmised that the reason
the special did not
receive much acclaim was due to that reason alone.  The only interesting segments involved Barbra’s solo
endeavors.  The
theme of the hour was the recreation of an authentic vaudeville entertainment presentation of the early
1900’s – perhaps a
“hard sell” for mid-1960’s audiences.

Victorian-Style Black Velvet Costume & Feather-Plumed Hat
from Belle of 14th Street, CBS - 1967
Designed by Don Loper for Brooks-Van Horn, New York/Philadelphia
(Courtesy of Deborah Burke, – Stamford, CT)

This black, silk-lined velvet turn-of-the-century-style gown is full length, sleeveless, and features a train
and black satin ribbon
“spaghetti”-style shoulder straps.  It is heavily boned at the waist for that “hour glass figure” appearance
of the period, and is
adorned with black satin ribbon trim at both the top of the bodice and bottom of the skirt.  A matching huge
black velvet picture
hat with cream-colored feathers completes the ensemble.  It has been documented that Barbra also wore
this costume, prior
to its use in the television special, to one of the Broadway Funny Girl cast parties.

Three-Piece Velvet Knickers Outfit
from Belle of 14th Street, CBS – 1967
Designed by Brooks-Van Horn, New York/Philadelphia
(Courtesy of Devin Bliss - Phoenix, AZ)

This adorable ensemble features a green velvet jacket, with matching knickers and Gatsby cap, decorated
with black braid.  
Barbra wore this playing a boy soprano singing, “Mother Machree.”  She appears as the young male
character several times
throughout the television special wearing this outfit.

Multi-Colored Victorian-Style Jacket
from Belle of 14th Street, CBS – 1967
Designed by Oppenheim, Collins and Company
(Courtesy of David Salyer - Los Angeles, CA)

A recent addition to this exhibit is the multi-colored silk peacock-print, kimono/turn-of-the-century-style
cape/jacket which
Barbra also wore on her third television special.  Ironically, the patterns and vibrant hues of the cloak are
reminiscent of the
psychedelic genre of the ‘60’s, but actually are demonstrative of the Victorian motif of the period.

Barbra’s fourth television special was a taped live performance at Sheep Meadow at Central Park in New
York City.  The event
was free of charge, and was a pivotal milestone in the entertainment industry.  It marked the largest
number of people ever
assembled to witness the performance of a single entertainer in history – 135,000 of the “luckiest people
in the world.”

Billowing Chiffon Cape
from A Happening in Central Park, CBS – 1967
Designed by Irene Sharaff
(Courtesy of Jeffrey Laymon - Ft. Lauderdale, FL)

Comprised of two layers of pleated, voluminous pink chiffon panels, Barbra wore this full length cape as
she wowed the
spectators at her New York “happening.”  The magnificent cloak was so flowing in Manhattan’s summer
air, it was said that
she was visible from the stage at any point of view by all in attendance in nearly every position in Central

That evening, June 17, 1967, marked Barbra’s last solo concert performance, until the M.G.M. Grand  Las
Vegas Concert in
1993, as she developed a case of crippling stage fright.  This was reportedly due to a death threat merely
hours prior to that
1967 performance.  She was so frightened during the Central Park event, that she subsequently forgot
lyrics to some of her
songs.  This was an experience she was unable to handle lightly or humorously.  In 1993, having
teleprompter technology
available “just in case” was one of the ingredients that contributed to Barbra’s highly publicized return to
the concert scene
nearly 27 years later.

Barbra’s fifth television special, Barbra Streisand and Other Musical Instruments, was shot in London, and
revisited the format
of Barbra’s first two television specials featuring Barbra as the sole artist, albeit the addition of a duet with
Ray Charles, and a
vignette  with a nine year-old classical pianist.  An interesting aside:  most of the costumes and gowns
were either designed by
Barbra, pulled off department store racks, or we acquired from thrift stores.

Mid-Eastern Gypsy Costume
from Barbra Streisand and Other Musical Instruments, CBS – 1973
Designer Unknown
(Courtesy of Jeffrey Laymon - Ft. Lauderdale, FL)

This red rayon, full-length gypsy-style dress is gathered at the waist and features a pleated skirt and
spaghetti straps.  It is
highlighted with dozens of brass medallions and gold chains and matching medallion sash, and was worn
during a segment
with Barbra singing, “I Got Rhythm” in a variety of international costumes.

This display case also features several of the many awards and benefits recognizing Barbra throughout
her nearly five decade
career.  The Tiffany-style lamp on the table was actually the centerpiece at the American Film Institute
Award ceremonies
which honored Barbra in 2001 when it presented her with its Lifetime Achievement Award.  A copy of the
tribute is included on
the last page of these notes.  

The cue card from the 2000 Golden Globe Awards, in which Barbra was honored by being presented the
Cecil B. DeMille Award
for Lifetime Achievement, is also displayed.  She was awarded this prestigious honor for being a “singer,
actress, film director,
producer, writer, and composer whose popularity has endured and grown for nearly four decades.”  This
very card was
personally given to Barbra’s husband, James Brolin, by a public relations executive, and is now here for
your enjoyment.

Also note the extremely rare television/radio/concert performance posters featured in this case.  An
assortment of television
guides featuring Barbra’s image on their covers also capture the thrill, fervor and anticipation of her

The Commercialization of a Legend:
A Tribute to Barbra’s Talent
and the Price of Fame

This small case features items made by fans, international art pieces, (note the beautiful Russian stackable
dolls and unique
ceramic tiles from England), memorabilia, as well as fan club magazines and fan events.

Barbra’s image has even been exploitatively used on items which have neither included any of her work,
nor any connection to
her at all.  Note the Tina Charles record featured in this display.

However, her image is used with her permission on the Celebrity Cellars commemorative wine bottle.  

The Movies and the Music

Ten different costumes are featured from six of Barbra’s films including: A Star is Born, The Mirror Has Two
Faces, Yentl, For
Pete’s Sake, The Way We Were, and On A Clear Day You Can See Forever.

Streisand-Designed Art Deco Metallic Gown & Cape
from A Star is Born, Warner Bros./First Artists – 1976
(Courtesy of Devin Bliss - Phoenix, AZ)

This breathtaking, 1920’s-inspired, full-length silver and black metal-mesh gown is a custom-made creation
by Barbra
Streisand, and was designed from several antique shawls.  It features a geometric design, “spaghetti”
straps, a skirt in two
layers, with a sewn-in undergarment lined in velvet at the décolletage, and a bodice lined in nude silk,
with a short-sleeved
matching cape.  This stunning ensemble was worn in the film for the scene in which Barbra, as Esther
Hoffman, wins the
Grammy award.  The movie’s credits list all costumes as “from Barbra Streisand’s closet.”  It was reported
that this dazzling
creation was also the only costume in movie history that also served as a “red carpet” gown.  Barbra wore
it to present the
1977 Grammy Award “Album of the Year” to George Benson for “Breezin’.”

Skirt & Sweater Ensemble
from The Mirror Has Two Faces, Columbia – 1997
Designed by Donna Karen, Banana Republic & Ralph Lauren
(Courtesy of Marcia Tysseling & Jerilyn Brown,
Star Wares Collectibles- Agoura Hills, CA)

This lovely costume includes a chocolate brown and taupe heavy-knit cardigan & side-pocketed brown
skirt (Karan), a ribbed
merino wool turtleneck (Banana Republic), as well as a pair of chocolate stretch tights (Lauren).  The film,
Barbra’s third
directorial effort, was nominated for __ Academy Awards, including Barbra’s second for writing an original
composition for a
motion picture (with Bryan Adams), “I Finally Found Someone.”

Silver-Blue Satin Dressing Gown from Yentl, MGM/UA – 1983
Designed by Judy Moorcraft
(Courtesy of Pamela Jean Miller - Phoenix, AZ, )

The two-time Academy Award nominee, Judy Moorcraft, created this full length, long-sleeved blue satin
dressing gown and
sash featuring a striped pattern throughout, with wide lapels and cuffs, and blue cord trimming.  It is fully
lined in a matching
synthetic blend.  Designed for what many consider the most pivotal scene between Barbra and actress
Amy Irving, as
“husband” and wife, this 19th century-styled robe is indicative of the period, and is captured on film in
Barbra’s first directorial
effort, for which she won the Golden Globe as Best Director of a Motion Picture for 1983.  The scene in
question is historical in
and of itself, inasmuch as it captured Barbra’s first and only on-screen kiss with a woman!

Streisand-Designed Terry-Cloth House Dress Robe
from For Pete’s Sake, Columbia – 1974
(Courtesy of Marcia Tysseling & Jerilyn Brown,
Star Wares Collectibles- Agoura Hills, CA)

This custom-two tone, salmon-colored, floor length terry-cloth robe/house dress features short cap
sleeves, two front pockets,
and full button closure at the front.  Though attributed to Frank L. Thompson, the piece was actually
designed by Barbra herself.  
A side note:  this zany, comedic film was also executive-produced by Barbra’s longtime manager, Martin

Trench Coat from The Way We Were, Columbia – 1973
Designed by Dorothy Jeakins & Moss Mabry
- Academy Award Nomination - Best Costume Design for 1973 -
(Courtesy of Joan Haag, Rochester, NY )

The plaid-patterned 1940’s-style tan/brown & burnt orange wool coat designed by three-time Academy
Award winner Dorothy
Jeakins and Moss Mabry, is fully-lined, features a pleated bodice, as well as a large button at the collar,
and leather sash.  
Although scenes of Barbra wearing this coat were deleted from the final film cut, photographs of her in it
were extensively used
in the promotion of the film, one of which is displayed here. Interestingly, another photo of Barbra
adorning this coat is also
included among the myriad of photographs displayed in the booklet which accompanies the current five
DVD release of Barbra
Streisand:  The Television Years.  Unbeknown to most people, Barbra also accepted her Academy Award
nomination for Best
Actress of 1973 while wearing this exact coat.

Dress from The Way We Were, Columbia - 1973
Designed by Dorothy Jeakins/Moss Mabry
- Academy Award Nomination - Best Costume Design for 1973 -
(Courtesy of Marcia Tysseling & Jerilyn Brown,
Star Wares Collectibles - Agoura Hills, CA)

Also by the Jeakins/Mabry designing team, this black and white crepe rayon, 1940’s-style, calf-length dress
with geometric
pattern, sports short sleeves, pleated skirt, and decorative jet black-beaded buttons over zigzag cut
pockets, and padded
shoulders. This dress was worn on screen when Katie Morosky runs into her college crush, Hubbell
Gardner, in the now-
famous scene with Barbra whisking her fingers through Robert Redford’s hair. It was shown on film under
a silk black jacket.

Included in front of The Way We Were costumes is the rejected art work from three alternative posters
that were under
consideration to promote the film.

Blouse from For Pete’s Sake - 1974
Designed by Ingelborg of New York & Vienna
(Courtesy of Mary Haag - Rochester, NY)

This coral pink, multi-color, floral print, long sleeve top features an open front, accordion-pleated
waistline, and cuffs with
ruffled edges.  You might remember Barbra wearing it as the zany Henrietta Robbins, who wanted to
invest in pork bellies to
help her husband’s financial position.  A pair of “The Gap” blue jeans from Barbra’s own closet is also
presented here.

Framed Japanese Shunga Print from Nuts, Warner Bros. – 1987
Set Designed by Greg Papalia
(Courtesy of Devin Bliss - Phoenix, AZ)

This reproduction print, matted in a gilt wooden frame, was closely examined on film by attorney Aaron
Levinsky (Richard
Dreyfuss), as it hung in the apartment of the prostitute on trial for murder, Claudia Draper, the character
portrayed by Barbra.  
“Shunga” is a form of erotic art from Japan that originated between the 17th and 19th centuries.  Prints
similar to this were
originally used as sexual manuals, and kept secretly inside pillow boxes before the post-Victorian age of
sexual exploitation.  A
photograph of that scene is to the left of the print in this display.

Sconces from The Mirror Has Two Faces - 1997
Set Designed by John Alan Hicks

From the hall of the home of the character played by Lauren Bacall (Barbra’s on-screen mother) in Barbra’s
third directorial
effort on film, these beautiful art nouveau wall sconces were acquired at a Christie’s/Julien Entertainment
auction in New York
City in December 2004.

Orphanage Dress
from On A Clear Day You Can See Forever, Paramount – 1970
Designed by Cecil Beaton

Constructed of fine wool jersey and lined with cotton, you might remember Barbra scrubbing the floors of
the orphanage in this
calf-length dress with ¾ sleeves, in the famed Vincente Minnelli-directed musical extravaganza.  The
costume is adorned with
crocheted and/or appliquéd patches on the right sleeve and side of the skirt, and was originally worn with
wool spats
embellished with leather.

Red Velvet Gown & Cape
created for On A Clear Day You Can See Forever, Paramount – 1970
Designed by Cecil Beaton
(Courtesy of Deborah Burke, Stamford, CT)

Quite possibly the most sensual creation ever worn by Barbra, this red, silk velvet, full-length, empire-
style gown, features an
attached gold silk under-dress, which is revealed from the seven oval-shaped cutouts in the front of
bodice, and in graceful
descent.  It is edged with gold bugle beading and decorative metallic gold-thread flowers, “spaghetti”
straps, and sports a built-
in boned brassiere, and flowing train.  It is accompanied by a matching red velvet cape, with end tassels
lightly tinted at the
tops.  Barbra’s position was solidified in culture’s high regard for her sense of style when Newsweek
magazine declared, “She’
s a thoroughbred clotheshorse for Cecil Beaton.”

"Melinda” Jacket, Muff & Hat
from On A Clear Day You Can See Forever, Paramount – 1970
Designed by Cecil Beaton
(Courtesy of Jeffrey Laymon – Ft. Lauderdale, FL)

Who could forget Barbra in the courtroom scene wearing this whimsical ensemble in which she, as
Melinda Tentrees inimitably
declares, “I am appalled at this outrageous inquisition!”  The amazing costume is comprised of an 18th
century-style orange
wool jersey waist coat with tails, with decorative orange thread appliqués around the collar, down the
front, on the full-length
sleeves, and at the cuffs,  It is also lined with orange silk.  Included is the orange wool muff with appliquéd
fringe tassels over
all, and the orange wool top hat.  In and of itself a work of art, the hat features a decorative ribbon
medallion-shaped adornment
with two tassels, and a long-flowing orange chiffon scarf attached at the rear.

All of the movie posters and lobby cards featured on the wall or displayed in this case are extremely rare.  
The international
pieces are works of art in and of themselves.  Many more, both framed and unframed, can be seen and are
available for
purchase in the Barbra Streisand Memories Gift Shop located in the corridor adjacent to the lobby desk
leading to Mel’s Diner.

When viewing the lobby cards and movie posters, it is interesting to note the number of actors in their
early careers, with
whom Barbra shared the screen, that become bona fide stars in their own right in years that followed.  
They include:  Jack
Nicholson, who played Barbra’s stepbrother in On A Clear Day…; a very young Dennis Quaid, who played
Barbra’s son in All
Night Long; James Woods, who played Barbra’s “geek” best friend in The Way We Were; and, Madeline
Kahn, who played the
infamous Eunice in the comedic farce, What’s Up Doc?

Even a porn star has worked with Barbra!  You might recall that Marilyn Chambers portrayed Robert Klein’s
girlfriend in The Owl
and the Pussycat!

Early Personal Gowns & The Concerts

Barbra’s personal wardrobe pieces are featured on the left of this case and concert items are on the right.

Pink Couture Gown - circa 1966
Designed by London Couture

One of Barbra’s personal London creations while in England performing in the stage version of Funny Girl
in 1966, this lovely
pink silk gown, adorned with silk roses, features yards of fabric and bows over a crinoline under gown.  It
was acquired at
Christie’s in New York, at the first of several auctions of Barbra’s personal collection of clothing, and the
style incorporated in
its design is indicative of many of Barbra’s favorite flowing gowns today.  Interestingly, it would have been
worn during her
pregnancy with her son, Jason Gould.

Red & White Striped Dress – circa 1966
Designer unknown

In a woven knit, this red and white casual dress was donated by Barbra to a charity benefit auction.  The
personal note from
Barbra, inscribed on Winter Garden Theatre pink -stationary is presented beneath the dress.  Note that in
the framed three-
page magazine layout displayed to the left of the dress, Barbra is wearing an almost identically-styled

Vanity Fair Lounging Pant Suit – 1991
Designed by Donna Karan, DKNY, New York

This two-piece sheer sequined ensemble is constructed of a single layer of nylon and rayon “fish net”
fabric, adorned with an
intricate pattern of black sequins, and features elastic-waist leggings and a long-sleeve turtle neck
blouse.  The luminous
creation was featured in the September, 1991 Vanity Fair, with a cover story entitled “Queen of Tides.”
Herb Ritts photographed
Barbra modeling it for the magazine, and it would serve as an example of Donna Karan’s future “sparkling”
creations that
Barbra would wear both on the stage and in personal appearances over the next 10 years.  Please note
the photograph in a
small frame to the right.

Blended Fur Hat on Wax Museum Streisand Bust – circa 1970’s
Designed by Henri Bendel for Turkistouckkouy, Helsinki
(Hat Courtesy of Joan Haag - Rochester, NY)
(Bust Courtesy of Charles Moniz – Los Angeles, CA)

Although not an actual movie costume, this tan and brown circular fur hat with brown satin lining was
utilized as a piece for
Barbra’s personal use, and she appeared wearing it to the premiere of Funny Lady in 1975.  It is featured
on a custom bust, part
of a wax figure of Barbra, which was created especially for the owner of Baby Jane Collectibles of West
Hollywood by an artist
from the Hollywood Wax Museum.

Alternate White “The Concert” Gown - 1994
Designed by Barbra Streisand & Donna Karan

Made of full-length crème de crepe silk jersey, featuring a décolleté neckline, empire waist, two-layered
skirt and a train, the
front of the inner skirt is knee length, and the design has a built-in body suit.  This gown is an exact
double of the black version
worn numerously throughout “The Concert” tour of 1994.

Alternate Black “The Concert” Gown – 1994
Designed by Donna Karan

Similar to the gown worn for the five city concert tour that was generated from Barbra’s momentous return
to the stage at the
MGM Grand Garden, New Year’s Eve, 1993, after a nearly 27 year absence, this version is also full length,
with an empire waist
and long sleeves.  Made from a single layer of Rayon and Spandex, this creation, however, features a
variant wide off-the-
shoulder cowl neck.

The Timeless – Millennium Concert Gown - 2000
Designed by Barbra Streisand & Donna Karan
(Courtesy of Devin Bliss – Phoenix, AZ)

This beautiful rendering, yet another by the Streisand/Karan designing team, was the flowing gown Barbra
used for the second
act opening of her famous Timeless Millennium Concert at the MGM Grand Hotel, and is also featured in
the Timeless video.  A
custom burgundy taffeta, full-length ball gown, it features an empire waist, short sleeves, drape collar, and
is fully lined.  Under
the gown is a hoop skirt with crinoline made of synthetic fiber and netting.

The event in Las Vegas marked Barbra’s first concert appearance in six years.  Who could forgot her
empowering version of
“On A Clear Day…” or enchanting “Send In the Clowns” while wearing this creation?

With respect to another remarkable item in this display, one only needs to quote Fanny in Funny Girl, “You
ask your looking
glass, Vat is it, makes her so exquisite?”  The metal stand, amidst the array of nearly every piece of
concert memorabilia
licensed for Barbra’s concerts, is the actual hair washing stand that Barbra used while touring!  Observe
the confetti scattered
throughout the concert memorabilia presentation.  It is from the MGM Grand Millennium New Year’s Eve
event, when at the
stroke of midnight, the lucky people in attendance were covered in it, in a never-ending paper shower.

Note also the green plastic and cardboard metallic rendering of the MGM Grand Hotel’s marquis with a
“revolving” cube of
Barbra’s face.  Surprisingly, this was the actual invitation that was mailed in a matching cardboard box, to
high roller’s
worldwide, proclaiming the appearance of Streisand at the hotel’s “grand” opening for New Year’s Eve,
1993.  The elaborate
piece emulated a mach-up of the thematic “Emerald City” from the film classic, The Wizard of Oz.  

The large poster featured in the upper right of this case is the actual 1993 “The Concert” lobby poster
from the Las Vegas MGM
Grand Hotel.  To coincide with the hotel’s grand opening, Barbra’s return to the stage to perform her first
concert in nearly three
decades was considered by the entertainment industry as an unprecedented event.  This is the exact
poster that was
prominent in the hotel front lobby.  Thousands of fans and hotel visitors had their picture taken in front of
it.  Did you?

Barbra’s Youth & Early Career

This case contains Barbra’s middle school picture from 1955.  This was the same year she recorded “More
Than You Know.”  
You can hear that recording on Just for the Record.  By the way, thirteen year old “Barbara” in the 3rd row
from the right,
second seat back.

Barbra’s 1959 Erasmus Hall High School Arch yearbook with her graduation picture is the featured piece in
this case.  Also
included are several Erasmus pins, postcards, buttons and a mug.  The choral pin is of special
significance, as Barbra’s
extracurricular credits reflect.

Do you want to hear an album of Barbra singing Irving Berlin?  You are not the first to have that wish.  
Note Barbra’s personal
response to a much earlier expressed and documented desire.

Miss Marmelstein was Barbra’s first Broadway role in I Can Get It for You Wholesale.  Notice the show’s
program, Playbill,
photos and review.  Of particular interest is the program biography, as well as the 45 single release which
spells Barbra as
Barbara.  Oy!

As Barbra says, her name is Bar-bra and her last name is "STRY-SAND like sand on a beach...not Strei-ZUND
or Strei-ZAND!"

On January 14, 1964, The Boston Trabeler had a front page photo and article regarding Ms. Streisand’s
opening of Funny Girl.  
She is pictured with Fanny Brice’s daughter, Frances.

Also in this case, is an autographed photo of Barbra, Barbra Streisand stamps, a magazine cover depicting
the Barbra
Streisand Rose, early "arcade cards" and more.

Barbra’s Favorite Things and People

Black & White Two-Piece Formal Sailor Ensemble – circa 1963
Designed by Barbra Streisand
(Courtesy of Deborah Burke, – Stamford, CT)

This custom silk satin suit emulates Barbra’s consistent intrigue with the “sailor” top, and embellishes it
once again, but this
time, with adorning crème and black sequins.  The blouse features an affixed decorative matching
sequined tie, white polyester
lining (added later), and a matching crème satin full length skirt with side slit.  The top is a more formal and
elaborate version of
what she wore on The Judy Garland Show, as well as her sold-out 1963 appearances at the Hollywood Bowl
and Coconut Grove
in Los Angeles, which introduced Barbra to the chic Hollywood crowd, and made her the “talk of the
town.”  The “sailor” style
was, naturally, carried forward with Barbra’s gown worn on her first television special, My Name Is Barbra.

This case also depicts some of Barbra’s personal items.  Displayed are:

•        Early china pieces.
•        Her Ramirez Estate homes (now Ramirez Canyon Park, which is open to public tours).
•        Flooring from “The Barwood” home.  This is where Barwood Films offices were located.  The flooring
acquired only after a
serious mudslide.
•        Coat hangers from her closet.
•        Monogrammed bath towels (as pictured in the adjacent Architectural Digest).       
•        Real estate brochures and floor plans from The Ardsley, New York apartment home.
•        Real estate articles when Barbra challenged the refusal to sell her a home.
•        Photos of her son, Jason Gould.
•        Photos of her husband, James Brolin.
•        Photos of her mother, Diana Kind.
•        Photos of her friends, Ray Stark, Richard Baskin and Marilyn Bergman.
•        Photo of & autographed items from her longtime manager, Martin “Marty” Erlichman.
•        And of course, her beloved pups, Sammy and Sadie!

Barbra's continued and generous support for charities and her involvement in politics is recognized
throughout several photos.

The Barbra Streisand Foundation has provided over 13 million dollars of aid to nonprofit causes since she
established it in 1986.

Merchandising in Earlier Technologies

Many forms of media have allowed us all to enjoy Barbra prior to the DVDs and CDs of today.  Displayed are
samples of that
media including LP records, 8-track tapes, Beta and VHS cassettes, CEDs, Laser Discs, books, books on
tape and even old-
fashioned piano rolls.  Ahhh...the good old days!  
Several new pieces were added to the collection once the run of the exhibit was extended.  These items
are displayed

Lavender/Gray Jeweled Grammy Award Outfit
Designer Unknown
(Courtesy of David Salyer - Los Angeles, CA)

The 22nd Annual Grammy Awards were held on February 27, 1980.  What made that evening memorable as
one of Grammy’s
greatest moments, was the unscheduled appearances of Barbra Streisand and Neil Diamond to perform
“You Don't Bring Me
Flowers.”  The audience screamed uncontrollably when Barbra, wearing this wonderful ensemble,
appeared with Neil on

Created from custom crepe silk, it is adorned with silver rhinestones, has padded shoulders, a high-neck
collar which features
fabric-covered buttons on the rear, with full-length sleeves, and “pajama”-style pants.

Later in 1980, Barbra also wore this wonderful outfit for the concert tribute honoring her dear friends and
collaborators, Alan &
Marilyn Bergman, for the American Civil Liberties Union benefit at the Los Angeles Music Center.  

As a side note, Barbra won her first two Grammy Awards in 1964 for her first album.  To date, she has been
nominated 38
times.  She received the Grammy Awards as follows:

1964        The Barbra Streisand Album—Album of the Year
1964        The Barbra Streisand Album—Best Female Performance
1965        “People”—Best Female Vocal
1966        My Name is Barbra—Best Female Vocal
1977        “Love Theme” from A Star is Born—Song of the Year
1977        “Love Theme” from A Star is Born—Best Pop Vocal Performance    Female                        
1981        “Guilty”—Best Pop Duo or Group Vocal
1987        The Broadway Album—Best Pop Female Vocal
1992        The Legend Award
1995        Lifetime Achievement Award

Gold Beaded Scopus Laureate Award Gown
Designed by Ray Aghayan – 1984
(Courtesy of Deborah Burke -, Stamford, CT)

This brilliant gold evening gown is one of the most dazzling high-couture fashions that Barbra has ever
worn.  Featuring an off-
the-shoulder neckline, and short cap sleeves, its construction encompasses four panels hanging from the
gown’s empire
waist, and it is covered in elaborate faceted beading and sequins, with various colors reflecting off the
gown’s textured gold

In 1984, Barbra Streisand was honored with The Scopus Laureate Award from Hebrew University, and she
commissioned Ray
Aghayan (Bob Mackie’s longtime designing partner) to blueprint a gown fashioned after the one worn by
the woman captured in
the painting, “Portrait of Adele Bloch-Bauer” by Gustav Klimt. This piece is the breathtaking result, and
was worn when Barbra
accepted the prestigious award.

The painting in question, which was the inspiration of this shimmering design, has been in the headlines
over the past few
years.  Members of the Adele Bloch-Bauer’s family were confined to a concentration camp in 1938 and the
Nazis seized the
portrait, among others.  Maria Altmann, the 90 year-old niece of Klimt’s subject, and her attorney, E.R.
Schoenberg, engaged in a
tenacious legal and diplomatic struggle with the Austrian government to return ownership to Altmann, as
the rightful heir.  This
past February, she won her suit, and the Austrian government was forced to return the portrait, along with
five other paintings
valued at over $331 dollars, all of which are currently on display at the Los Angeles County Museum of Art.

House Beautiful Caftan & Furniture – circa 1974
Designed by Barbra Streisand
(Courtesy of David Salyer, Los Angeles, CA)

The custom red and silver satin caftan encrusted with red, black and silver sequins displayed here,
features patchwork at the
lower front of the bodice, and is trimmed with red velvet ribbon, with “shoe lace” style silver tassels
affixed to the sides,
adorned with a short train.  This magnificent piece is demonstrative of both high couture and art, and was
designed specifically
for a deco home that Barbra was designing in Malibu.  Barbra was photographed in it, however, on the
August 1974 cover of
House Beautiful magazine, shot in the media room of her Carolwood Drive home in Los Angeles,
California.  Incorporated in this
display, and also captured in the same magazine layout, are Barbra’s Art Deco-style, cube-shaped, high
back, club chairs in a
geometric patchwork pattern of maroon, red, black, gray and cream.  Although the chairs are upholstered
in velour, their fabric
most closely resembles mohair, which was indicative of the material used during the 1920's “Machine Age”
period.  Please
also note yet another piece from her LA home in this presentation:  a 1930’s-style smoking table.

The Birdcage: “Don’t Believe What You Read”

The birdcage is the curator’s artistic expression of what he believes Barbra thinks of the tabloids.  Check
out the lyrics to a
song she co-wrote in 1977, "Don't Believe What You Read," in response to tabloid articles claiming that
Barbra had birds flying
freely in her disheveled home.

Today, the curator comments that Barbra might even include the Los Angeles Times in that bird cage, as
she recently
cancelled her subscription due to the release of an editor with a more liberal leaning than those that
remain or replaced him.

The Barbra Streisand Memories Gift Shop

Visit the Barbra Streisand Memories Gift Shop containing thousands of other very rare and not-so-rare
Streisand collectibles
and memorabilia.  The shop is literally a continuation of the exhibit, with items available for purchase.  Also
here are Barbra
Streisand mannequins, costume reproductions and artifacts from San Francisco’s former “Hello Gorgeous

A portion of the net proceeds from the gift shop sales will be donated to The Barbra Streisand Foundation
and The Hollywood

Also, be sure to visit with the curator of Barbra Streisand: The Legacy Collection, Lou Papalas, in The
Barbra Streisand
Memories Gift Shop in the Hollywood Museum lobby area.  It is located off to the right of the first floor
lobby in the corridor
leading to Mel's Diner.  Lou will answer any questions you may still have about the exhibit, and will also
assist you in finding that
special piece of memorabilia you have been looking for.  Consider him your personal shopper for all
Barbra items.

Lou also takes pride in the fact that he has almost everything that exists pertaining to Barbra's career.  If
he does not have it in
one of his warehouses, he will personally find it for you.

Additionally, some of the items featured in the exhibit are also available for sale, providing the potential
new owner can wait
until the conclusion of the exhibit (presently scheduled for June 1, 2006) to take possession.

Exhibited items available for purchase include:

•        For Pete’s Sake robe.
•        The Way We Were dress.
•        The Mirror Has Two Faces outfit.
•        The two piece white sequined sailor top and skirt designed by Barbra.        
•        On a Clear Day. . .pierced front gown with cape designed by Cecil Beaton.
•        The Belle of 14th Street black gown and hat.
•        Color Me Barbra sequined jump suit.
•        Mannequin from the Wax Museum.
•        Barbra Streisand portraits.
•        Wall sconces from The Mirror Has Two Faces.
•         Ray Aghayan Gold Gown inspired by the Gustav Klimt Portrait.

The Barbra Streisand Legacy Collection Association
(You, too…can join!)

As you probably know, Barbra sold thousands of her personal possessions, as well as career gowns and
costumes, at live and
online auctions, to raise funds for The Barbra Streisand Foundation.  Since its inception in 1986, this
foundation has generated
over $13 million to charitable groups, conservation efforts and human rights initiatives.  Parting with these
items must have
been very difficult for her.  She took great care in preserving her treasures, and as everyone knows,
letting go can be
challenging.  However, Barbra recognized the importance of using her items to raise funds for causes
near and dear to her

If you are in possession of rare Barbra Streisand gowns and/or memorabilia and would like to join The
Barbra Streisand Legacy
Collection Association, please contact Lou Papalas.  There is no charge or obligation to unite with this
distinctive group.  

Many of the members who have acquired these special items, formerly owned by Barbra, hope to continue
Barbra’s example
by raising funds for nonprofit organizations, thereby perpetuating the legacy of Barbra’s unselfish
generosity.  Through the
collectors’ joint efforts, it our intent to periodically exhibit Barbra’s former possessions, so that fans
worldwide can continue to
enjoy and honor the integrity of Barbra’s career and lifetime of work, while we continue her legacy of
raising funds for
worthwhile charitable causes.  

If you would like more information, please contact Lou Papalas by email at or call
him at 248-225-3158.

Thank you, once again, for your interest, support and for visiting.  I sincerely hope you enjoyed this exhibit
– our collective labor
of love.

Reprinted from AFI website
2001: Barbra Streisand
By Rochelle L. Levy
The trustees of the American Film Institute have selected Barbra Streisand to receive AFI's 29th Life
Achievement Award
It is not easy to characterize the artistry of Barbra Streisand. The unprecedented scope of her talent
encompasses all the
major disciplines–acting, directing, singing, composing, producing and writing. To excel in just one
medium is rare indeed; to
excel at the lot is nothing less than extraordinary. She is, accordingly, universally recognized as a true
Renaissance Woman.

The recipient of an Honorary Doctorate in Arts and Humanities from Brandeis University, Streisand is a rare
honoree, the only
artist to earn Oscar, Tony, Emmy, Grammy, Golden Globe, Cable Ace and Peabody Awards. She has been
honored by France as
a Commander of the Order of Arts and Letters, and she has received America’s Medal of Arts from the
National Endowment for
the Arts.
The forces that drive Barbra Streisand stem from a rich amalgam of personality traits stretching back to
her childhood: a
longing to express herself, an uncompromising vision and a healthy dose of chutzpah. While the breadth
of her creativity
transcends gender, Streisand’s artistic choices have indisputably been informed by her femininity,
particularly by the absence
of her father, who died when she was just 15 months old.

Although Streisand got her start as a singer, performing as a teenager at The Lion, Bon Soir and The Blue
Angel in Manhattan,
her first love was always acting. She describes herself as "an actress who sings." She won two Grammy
Awards in 1963 for
her first album, The Barbra Streisand Album; currently, she has a career total of 10. She is still the highest-
selling female
recording artist ever, with 42 gold, 26 platinum and 13 multi-platinum albums. She has had #1 albums in
each of the last four

After starring on Broadway as Miss Marmelstein in I Can Get It for You Wholesale (for which she won the
New York Drama
Critics Award) and as Fanny Brice in Funny Girl, Streisand segued easily into television, where she
received an Emmy for her
first network special, MY NAME IS BARBRA. In 1968, Streisand reprised the role of Fanny Brice for her film
debut in FUNNY GIRL.
This was no typical ingénue; rather, Streisand’s delightfully bawdy, refreshingly ethnic, highly original
Fanny forced critics and
audiences alike to take notice. Streisand had effectively used her unconventional looks and style,
blended with her enormously
original talent, to assure herself a place in American cinema history. Her screen debut earned the
newcomer a Best Actress
Academy Award, and she later became the first female composer to win the Best Song Oscar, for

Over the next 15 years, many films followed, including hits such as WHAT’S UP,, DOC? THE WAY WE WERE
BORN. During this time, Streisand was drawn to a project that had been close to her heart since 1968,
when she first read
Isaac Bashevis Singer’s short story, Yentl, the Yeshiva Boy. Upon reading the story’s first four words–
"After her father’s death"
–Streisand felt a visceral connection to the material. Film rights finally became available in 1978, at which
time Streisand
acquired them and began to plan its film adaptation. And she needed all the confidence and fortitude she
could muster.

Nay sayers were numerous, but Streisand’s fervor never wavered. She immersed herself in the world of
YENTL, becoming the
first woman to produce, direct, write and star in a major motion picture. Author/rabbi Chaim Potok was
struck by the level of
her commitment. "At times it is difficult to determine where Barbra ends and Yentl begins; the edges of
the two personalities
blur into each other," he remarked. "She seems filled and possessed by the work."

YENTL proved to be not only a huge personal success for Streisand, but also, in a broader context, a
triumph for female film
makers during an exceedingly fallow creative period. Whereas in 1916, there were 12 female directors
making films, 67 years
later, in 1983, while Streisand was shooting YENTL, she was one of only two women shooting a major
motion picture. "I felt
pressure working on YENTL because it was one of the first big budget movies made by a woman, and I
thought, ‘My God, if this
doesn’t succeed in some way, then it’ll hurt a lot of female directors in the future.’" Fortunately, for those
future directors, she
won Golden Globes for both Best Director and Best Picture.

Following YENTL, Streisand directed THE PRINCE OF TIDES (1991) and THE MIRROR HAS TWO FACES (1996).
TIDES was the first motion picture directed by its female star ever to win a Directors Guild of America
nomination, as well as
seven Academy Award nominations. Barwood Films (formed in 1972 and through which she produced
these three films, as well
as UP THE SANDBOX, NUTS and A STAR IS BORN) has focused on creating television movies and
documentaries that explore
pressing social, historical and political issues–issues that have only received such wide broadcast due to
the force and
conviction of Barbra Streisand’s involvement.

Barbra Streisand’s passions extend to humanitarian causes, most notably through her work with the
Streisand Foundation and
her unabashed participation in the political process. Her acclaimed speech, The Artist as Citizen, delivered
as an address to the
Kennedy School of Government at Harvard University, is reproduced in Sen. Robert Torricelli’s book, In
Our Own Words, which
compiles "the most extraordinary speeches of the 20th century."

The Streisand persona has always been larger than life. Call it perfectionism, call it conscientiousness, but
reduced to its
simplest element, you are left with a woman to whom the quality of the work is the final arbiter. She is an
artist whose
commitment pushes her to the heights of excellence. Yet, that very same commitment often invites
criticism, perhaps because
she is a woman–a woman who speaks her mind and dares to succeed.

Barbra Streisand’s career defies conventional definition. She has conducted herself on her own terms,
remaining unbowed by
Hollywood pressures to change her appearance, to tone down her personality and to ease up on her
attention to detail. A
strong, willful, vulnerable, honest woman, Barbra Streisand serves as a role model for young women
everywhere, as an
example of passion, commitment, fortitude and determination. For the tremendous joy this consummate
artist has brought to
audiences worldwide as she transports us with her wondrous talents both in front of and behind the
camera, the American Film
Institute is honored to present Barbra Streisand with AFI’s 29th Life Achievement Award.