At nearly 1,000 pages long, My Name Is Barbra is the ultimate exercise in directorial control, and a celebration of women's authorship.
and more have showered us with bombshells and revelations about their origin stories and private lives. Despite those heavy hitters and the crowded field they occupy, the celebrity memoir I've coveted most is that of the singular Ms. Barbra Streisand. Thanks to the opportunity to speak with her for this week's edition ofFor me, the iconography of Streisand begins with her nails.
Across the book's 59 chapters and many decades, Streisand is careful to uplift the names of those who encouraged, impressed, or even challenged her. Her detractors tend to be aired out or paid dust. She recounts her life as a series of odysseys, and she the ever triumphant victor.Frankly, she's earned it. Her resumé is living legend: more than 50 albums, a box office titan, and a whole EGOT .
Our culture loves to see and persistently pause Streisand as Babs, the consummate prima donna, our forever leading lady. But in doing so, audiences, critics and biographers have failed to acknowledge the shrewd image-maker she has always been — the architect of her persona and performance. Our culture loves to see and persistently pause Streisand as Babs, the consummate prima donna, our forever leading lady. But in doing so, audiences, critics and biographers have failed to acknowledge the shrewd image-maker she has always been — the architect of her persona and performance.led Lauren Bacall to the first Academy Award nomination in Bacall's then five-decade career.
Streisand's legacy still scatters like a constellation across our cultural landscape; Jane Campion's Oscar win, Lady Gaga's screen goddess turn, Beyoncé's Parkwood Entertainment. But artistic powerhouses like them, like Barbra, don't spring forth, fully formed. They're sharpened over years, one overnight shoot, one"let's take that again from the top," and one lengthy fingernail at a time.
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