1 00:00:01,560 --> 00:00:05,640 Speaker 1: I'm Hillary Clinton, and this is you and me both. Well, 2 00:00:05,680 --> 00:00:10,000 Speaker 1: today's guest truly needs no introduction, but I'm going to 3 00:00:10,039 --> 00:00:14,320 Speaker 1: give her one anyway. Barbara Streisand is a singer, actor, 4 00:00:14,520 --> 00:00:20,200 Speaker 1: film director, producer, writer, activist, you name it. Her list 5 00:00:20,239 --> 00:00:25,279 Speaker 1: of accomplishments spans seven decades and every facet of the 6 00:00:25,440 --> 00:00:26,599 Speaker 1: entertainment industry. 7 00:00:27,440 --> 00:00:29,240 Speaker 2: But the short version. 8 00:00:29,280 --> 00:00:32,040 Speaker 1: Is that she is just one of a handful of 9 00:00:32,120 --> 00:00:37,760 Speaker 1: people to have won one or more Emmy, Grammy, Oscar 10 00:00:38,120 --> 00:00:43,320 Speaker 1: and Tony Awards. Now, some people revere Barbara for what 11 00:00:43,440 --> 00:00:47,520 Speaker 1: she does with her amazing singing voice. She is, after all, 12 00:00:47,560 --> 00:00:51,760 Speaker 1: one of the best selling recording artists of all time. 13 00:00:52,680 --> 00:00:57,960 Speaker 1: Others love her for her iconic performances on stage and screen, 14 00:00:58,600 --> 00:01:02,360 Speaker 1: from Funny Girl to was Star Is Born to Yentil, 15 00:01:02,440 --> 00:01:06,240 Speaker 1: you name it. And it is not just that she's acting, 16 00:01:06,440 --> 00:01:11,200 Speaker 1: but she became a director as well. None of this 17 00:01:11,400 --> 00:01:18,360 Speaker 1: was preordained. As a young teenager from Brooklyn going into 18 00:01:18,440 --> 00:01:23,399 Speaker 1: Manhattan in the early nineteen sixties performing in New York 19 00:01:23,400 --> 00:01:28,440 Speaker 1: City nightclubs, she had no connections or any formal training. 20 00:01:29,120 --> 00:01:33,000 Speaker 1: She was just a hungry kid from Flatbush who knew 21 00:01:33,040 --> 00:01:36,560 Speaker 1: what she wanted and was determined to go out there 22 00:01:36,680 --> 00:01:41,080 Speaker 1: and get it. You know, some early critics made negative 23 00:01:41,160 --> 00:01:47,480 Speaker 1: comments about her quote unquote unconventional looks. A few talent 24 00:01:47,600 --> 00:01:51,920 Speaker 1: hunters even told her to fix her nose. Thankfully, she 25 00:01:52,200 --> 00:01:57,480 Speaker 1: ignored them, but no one could deny her talent. I've 26 00:01:57,520 --> 00:02:01,800 Speaker 1: known Barbara since the early nineteen nineth We've supported a 27 00:02:01,840 --> 00:02:06,400 Speaker 1: lot of the same political causes, including my husband's campaigns 28 00:02:06,440 --> 00:02:10,480 Speaker 1: for president. Now I feel like I know her even better. 29 00:02:10,639 --> 00:02:15,519 Speaker 1: After reading My Name Is Barbara, her brand new, expansive 30 00:02:15,720 --> 00:02:20,880 Speaker 1: and very entertaining memoir, I was delighted she agreed to 31 00:02:21,000 --> 00:02:24,079 Speaker 1: come on the podcast to talk with me about it. 32 00:02:26,200 --> 00:02:31,280 Speaker 3: Hey, Barbara, can hear me, Hillary, I can hear you. 33 00:02:32,240 --> 00:02:32,920 Speaker 3: I can hear you. 34 00:02:34,360 --> 00:02:37,600 Speaker 1: Oh. I am so so happy to be doing this 35 00:02:37,720 --> 00:02:38,160 Speaker 1: with you. 36 00:02:38,400 --> 00:02:41,040 Speaker 2: But I have to tell you I have a big 37 00:02:41,080 --> 00:02:41,919 Speaker 2: bone to pick. 38 00:02:42,200 --> 00:02:48,720 Speaker 1: I am so sleep deprived from reading this amazing, incredible memoir. 39 00:02:49,280 --> 00:02:53,680 Speaker 2: Oh I am I literally I could not sleep. 40 00:02:53,800 --> 00:02:57,600 Speaker 1: I kept saying to myself, Okay, just half a chapter more. 41 00:02:57,600 --> 00:03:00,040 Speaker 2: I'll get to one of the page breaks. 42 00:02:59,800 --> 00:03:01,640 Speaker 1: And then I'd get to the page break and I 43 00:03:01,639 --> 00:03:02,519 Speaker 1: would keep going. 44 00:03:03,440 --> 00:03:05,240 Speaker 2: It is phenomenal. 45 00:03:05,480 --> 00:03:09,240 Speaker 3: Oh, I'm so that is such a compliment coming from you, Hillary, 46 00:03:09,360 --> 00:03:14,480 Speaker 3: It is so personal, so honest, so self reflective. 47 00:03:14,960 --> 00:03:17,080 Speaker 2: I could just gush this whole podcast. 48 00:03:17,160 --> 00:03:18,760 Speaker 3: That's all. Do it, do it please? 49 00:03:21,520 --> 00:03:24,040 Speaker 1: It was worth the wait, my friend. You've been working 50 00:03:24,080 --> 00:03:25,120 Speaker 1: on this for I don't. 51 00:03:24,919 --> 00:03:27,080 Speaker 3: Know how ten years, ten years. 52 00:03:26,800 --> 00:03:29,640 Speaker 1: And you know, I love the way that you opened 53 00:03:29,880 --> 00:03:34,840 Speaker 1: the book by talking about the nicknames said, the descriptions 54 00:03:35,560 --> 00:03:38,080 Speaker 1: of you in the press early in your career. It 55 00:03:38,120 --> 00:03:40,840 Speaker 1: gave me a good idea about how to open my 56 00:03:40,960 --> 00:03:41,640 Speaker 1: next book. 57 00:03:41,760 --> 00:03:42,840 Speaker 3: Oh really good. 58 00:03:43,200 --> 00:03:46,520 Speaker 2: Do these kinds of criticism still bother you at all? 59 00:03:47,400 --> 00:03:51,200 Speaker 3: Well? Now I don't read them you either, No, I can't. 60 00:03:51,280 --> 00:03:54,760 Speaker 3: I can't because I guess I used to early in 61 00:03:54,800 --> 00:03:57,760 Speaker 3: my career, and I thought, but that's not true. That's 62 00:03:57,840 --> 00:04:01,440 Speaker 3: not true. Why did they you know? So it's better 63 00:04:01,480 --> 00:04:03,560 Speaker 3: not to read anything about yourself. 64 00:04:03,880 --> 00:04:05,760 Speaker 2: I have found that after many years. 65 00:04:05,880 --> 00:04:09,520 Speaker 1: You know. I also was very touched by your dedication. 66 00:04:10,320 --> 00:04:14,120 Speaker 1: You dedicated your book to the father I never knew 67 00:04:14,400 --> 00:04:17,880 Speaker 1: and the mother that I did when I was reading 68 00:04:18,200 --> 00:04:21,320 Speaker 1: about those early years because you lost your father when 69 00:04:21,440 --> 00:04:24,800 Speaker 1: you were only fifteen months old. You have a scene 70 00:04:24,920 --> 00:04:28,080 Speaker 1: where you used to go up to the window to 71 00:04:28,120 --> 00:04:29,120 Speaker 1: wait for him to come home. 72 00:04:29,160 --> 00:04:29,880 Speaker 2: Do you remember that. 73 00:04:30,560 --> 00:04:33,039 Speaker 3: I know my mother told me that story, so I 74 00:04:33,120 --> 00:04:34,120 Speaker 3: know it's true. 75 00:04:34,560 --> 00:04:37,680 Speaker 2: His absence was so profound to you. 76 00:04:38,960 --> 00:04:41,839 Speaker 3: I guess it's so primal. And we know so much 77 00:04:42,200 --> 00:04:46,479 Speaker 3: as infants. Don't you think we feel things even though 78 00:04:46,480 --> 00:04:49,040 Speaker 3: we can't, you know, speak the words. 79 00:04:49,920 --> 00:04:55,320 Speaker 1: Parents cast such big shadows over our lives. And you 80 00:04:55,360 --> 00:04:59,520 Speaker 1: are very honest about the difficult relationship you had with 81 00:04:59,560 --> 00:04:59,960 Speaker 1: your mom. 82 00:05:00,080 --> 00:05:01,279 Speaker 2: It wasn't simple, was it. 83 00:05:01,440 --> 00:05:08,679 Speaker 3: No? No, because I couldn't fathom that a mother could 84 00:05:08,760 --> 00:05:13,880 Speaker 3: actually be jealous of her own daughter. I mean, you 85 00:05:14,640 --> 00:05:17,280 Speaker 3: must have been not the word touched. I don't mean 86 00:05:17,320 --> 00:05:22,880 Speaker 3: to give myself a compliment, But my relationship with Virginia, 87 00:05:23,000 --> 00:05:25,279 Speaker 3: your mother in law, how about that? 88 00:05:26,120 --> 00:05:31,680 Speaker 1: Well? I can barely talk about it, and for everyone listening. 89 00:05:32,440 --> 00:05:37,080 Speaker 1: Barbara Matt Bill's mother Virginia at the Arkansas Inaugural ball 90 00:05:37,160 --> 00:05:41,880 Speaker 1: back in January of nineteen ninety three. And you'd been 91 00:05:42,000 --> 00:05:46,120 Speaker 1: such a great supporter of Bill's campaign, and it was 92 00:05:46,520 --> 00:05:49,800 Speaker 1: so wonderful getting to know you starting in nineteen ninety two. 93 00:05:50,920 --> 00:05:54,640 Speaker 1: But there was something magic about the connection that you 94 00:05:54,680 --> 00:05:55,599 Speaker 1: and Virginia made. 95 00:05:56,320 --> 00:05:59,120 Speaker 3: Well, when he said from the stage, go with my 96 00:05:59,240 --> 00:06:03,560 Speaker 3: mom and Virginia took my hand. I think we were 97 00:06:03,600 --> 00:06:06,800 Speaker 3: both on the stage at the time, and it was like, 98 00:06:07,279 --> 00:06:11,000 Speaker 3: all of a sudden, it felt like family because we 99 00:06:11,120 --> 00:06:16,360 Speaker 3: had so much invested in his becoming president, changing the country, 100 00:06:16,400 --> 00:06:21,839 Speaker 3: you know, so walking that night and Richard Baskin and I, 101 00:06:21,880 --> 00:06:25,360 Speaker 3: who are still friends, took that picture from the back. 102 00:06:26,120 --> 00:06:29,560 Speaker 3: I love pictures from the back. You know. You don't 103 00:06:29,680 --> 00:06:33,240 Speaker 3: have to see people's faces to get the emotion and 104 00:06:33,320 --> 00:06:37,720 Speaker 3: the feeling of connection from a photograph, you know, I mean, 105 00:06:37,760 --> 00:06:39,600 Speaker 3: it's quite extraordinary. 106 00:06:40,200 --> 00:06:43,919 Speaker 1: The way you talk about Virginia and your relationship in 107 00:06:44,000 --> 00:06:49,880 Speaker 1: the book was really moving. And the last public event 108 00:06:50,000 --> 00:06:52,440 Speaker 1: that she did in her whole life was to go 109 00:06:52,520 --> 00:06:56,320 Speaker 1: see you in your appearance in Las Vegas. And she 110 00:06:56,480 --> 00:06:59,880 Speaker 1: died shortly after that. And neither Bill nor I nor 111 00:07:00,040 --> 00:07:03,720 Speaker 1: anyone who knew her could have been happier for her 112 00:07:03,839 --> 00:07:08,600 Speaker 1: that she got to see you return to the stage. 113 00:07:08,680 --> 00:07:13,120 Speaker 3: Can you imagine? I mean, I remember talking to her 114 00:07:13,240 --> 00:07:17,000 Speaker 3: on the phone and I was telling her in May 115 00:07:17,440 --> 00:07:20,080 Speaker 3: for something that was going to happen at Christmas. Can 116 00:07:20,120 --> 00:07:23,800 Speaker 3: you imagine New Year's Eve? Actually? And I was telling 117 00:07:23,840 --> 00:07:28,680 Speaker 3: her that I decided to sing again after twenty some years, 118 00:07:29,440 --> 00:07:31,920 Speaker 3: and she said, well, I have to be there. And 119 00:07:32,000 --> 00:07:34,760 Speaker 3: I said, oh my god, would you really you know, 120 00:07:34,880 --> 00:07:38,040 Speaker 3: schlep all the way across the country to see me. 121 00:07:38,800 --> 00:07:41,240 Speaker 3: And she said of course. And I said, well, I'll 122 00:07:41,280 --> 00:07:44,520 Speaker 3: be singing on a Friday or Saturday and Saturday night, 123 00:07:44,600 --> 00:07:47,440 Speaker 3: so which night do you want to come? And she said, well, 124 00:07:47,480 --> 00:07:52,440 Speaker 3: aren't you singing both nights? I said yeah. She said, 125 00:07:52,480 --> 00:07:54,480 Speaker 3: well I want to be there both nights. You know, 126 00:07:56,600 --> 00:08:00,720 Speaker 3: in the past, my mother, well even that last time 127 00:08:00,800 --> 00:08:05,240 Speaker 3: I sang, you know, the first time after twenty some years, 128 00:08:06,000 --> 00:08:09,160 Speaker 3: my mother didn't come to my opening night because she 129 00:08:09,320 --> 00:08:12,600 Speaker 3: was out with girlfriend, she said. And she came the 130 00:08:12,640 --> 00:08:16,040 Speaker 3: second night. And that's when I put a picture of 131 00:08:16,360 --> 00:08:19,840 Speaker 3: Virginia and my mother. I was the cheese in the middle. 132 00:08:19,960 --> 00:08:20,440 Speaker 2: That's right. 133 00:08:20,680 --> 00:08:23,920 Speaker 3: The picture is very telling. You know, Virginia and I 134 00:08:23,960 --> 00:08:28,720 Speaker 3: are holding hands, but my mother's hand does not clasp mine. 135 00:08:29,160 --> 00:08:32,760 Speaker 3: I I don't know what to say after that. 136 00:08:33,800 --> 00:08:36,120 Speaker 1: I noticed that when I got to the section of 137 00:08:36,200 --> 00:08:40,360 Speaker 1: pictures in the book, I noticed exactly what you're describing. 138 00:08:40,960 --> 00:08:44,480 Speaker 1: But I want to go back to your earlier days, 139 00:08:44,600 --> 00:08:49,440 Speaker 1: because you know the story you tell about moving out 140 00:08:49,480 --> 00:08:52,000 Speaker 1: on your own. I think what were you sixteen, Yeah, 141 00:08:52,880 --> 00:08:58,720 Speaker 1: leaving Brooklyn, going to Manhattan, supporting yourself with a variety 142 00:08:58,800 --> 00:08:59,800 Speaker 1: of odd jobs. 143 00:09:00,360 --> 00:09:02,080 Speaker 3: I was a clerk licking envelopes. 144 00:09:04,920 --> 00:09:09,520 Speaker 1: I mean, you really started your career very young. But 145 00:09:10,120 --> 00:09:12,480 Speaker 1: no matter what was going on inside of you, and 146 00:09:12,520 --> 00:09:15,800 Speaker 1: you write about some of your feelings, you presented yourself 147 00:09:15,880 --> 00:09:17,600 Speaker 1: as self assured. 148 00:09:18,160 --> 00:09:23,880 Speaker 2: I like to say, gutsy. Just describe for us how you. 149 00:09:23,880 --> 00:09:27,800 Speaker 1: Made the decision number one to leave Brooklyn get to Manhattan. 150 00:09:28,080 --> 00:09:30,880 Speaker 1: You always knew you wanted to be an actoract. I 151 00:09:30,880 --> 00:09:34,720 Speaker 1: mean you have great reflective scenes where you're saying to yourself, well, 152 00:09:34,760 --> 00:09:37,240 Speaker 1: when I'm a famous actor, when you were like thirteen 153 00:09:37,320 --> 00:09:40,040 Speaker 1: years old, when I'm an actor, I'm going to do this. 154 00:09:40,160 --> 00:09:42,760 Speaker 1: I mean, you always had that feeling about yourself. Where 155 00:09:42,760 --> 00:09:43,640 Speaker 1: did that come from? 156 00:09:44,000 --> 00:09:47,240 Speaker 3: You know, that's the mystical side of life. I think. 157 00:09:48,240 --> 00:09:52,920 Speaker 3: I remember I told a story in my book that's 158 00:09:52,960 --> 00:09:57,079 Speaker 3: when I got an apartment next to my acting school. 159 00:09:57,520 --> 00:10:02,040 Speaker 3: I was sixteen. I turned sick. I graduated actually when 160 00:10:02,080 --> 00:10:06,200 Speaker 3: I was just fifteen. But I was standing in my 161 00:10:06,320 --> 00:10:11,439 Speaker 3: doorway that story that I didn't like to make my bed. 162 00:10:13,200 --> 00:10:18,160 Speaker 3: I couldn't comprehend certain things like today, I can't comprehend phones. 163 00:10:19,679 --> 00:10:23,120 Speaker 3: I really can't. I'm constantly asking my husband's next to 164 00:10:23,160 --> 00:10:26,079 Speaker 3: me in the bed, you know, how do you do this? 165 00:10:26,200 --> 00:10:29,360 Speaker 3: I mean, why does this arrow disappear? How come I 166 00:10:29,400 --> 00:10:34,000 Speaker 3: can't figure it? I cannot. I'm smart about certain things, 167 00:10:34,080 --> 00:10:39,320 Speaker 3: but not about phones. Anyway. I was reading a book 168 00:10:39,440 --> 00:10:43,280 Speaker 3: because I liked Ibsen as a playwright, and so I 169 00:10:43,400 --> 00:10:47,400 Speaker 3: bought a book called The Quintessence of Ibsenism, which I 170 00:10:47,440 --> 00:10:50,280 Speaker 3: thought was going to describe his plays, because they were 171 00:10:50,280 --> 00:10:53,920 Speaker 3: great parts as an actress, you know, for me. And 172 00:10:54,320 --> 00:10:59,080 Speaker 3: at one point I thought I read Thoughts Transcend Matter 173 00:11:00,559 --> 00:11:03,480 Speaker 3: by the way. Looking for that later on, I could 174 00:11:03,520 --> 00:11:06,120 Speaker 3: never find it in the book. So I don't know 175 00:11:06,440 --> 00:11:11,160 Speaker 3: where that came from. But I believed in the power 176 00:11:11,200 --> 00:11:15,480 Speaker 3: of thought and how it can create reality. And I 177 00:11:15,559 --> 00:11:18,079 Speaker 3: remember as if it were today, you know. I remember 178 00:11:18,160 --> 00:11:22,280 Speaker 3: standing in that doorway looking at the bed, which the 179 00:11:22,360 --> 00:11:25,000 Speaker 3: room was so small you could, you know, when you 180 00:11:25,160 --> 00:11:29,040 Speaker 3: find a small bed and no end table or anything 181 00:11:29,120 --> 00:11:33,520 Speaker 3: like that. And I thought to myself, I have to 182 00:11:33,520 --> 00:11:36,200 Speaker 3: get famous in order to get somebody else to make 183 00:11:36,240 --> 00:11:36,679 Speaker 3: my bed. 184 00:11:37,520 --> 00:11:39,480 Speaker 2: I love that, Do you know what I mean? In 185 00:11:39,520 --> 00:11:43,440 Speaker 2: other words, you know what you mean, you thought your 186 00:11:43,480 --> 00:11:45,280 Speaker 2: life and you invented it. 187 00:11:45,559 --> 00:11:45,760 Speaker 3: Yeah. 188 00:11:46,000 --> 00:11:48,760 Speaker 2: You know, you made your Broadway debut when you were nineteen. 189 00:11:49,080 --> 00:11:53,360 Speaker 1: You leave Brooklyn, you're fifteen, sixteen, you're young, you don't 190 00:11:53,360 --> 00:11:55,840 Speaker 1: know how to make a bed. You go to Manhattan 191 00:11:56,440 --> 00:11:59,120 Speaker 1: and you're in I can get it for your wholesale. 192 00:11:59,440 --> 00:12:01,840 Speaker 2: And then two years later you're. 193 00:12:01,679 --> 00:12:05,679 Speaker 1: Starring as Fanny Brice in Funny Girl, and that role 194 00:12:06,120 --> 00:12:10,000 Speaker 1: was iconic, it lives in history. Did you sense the 195 00:12:10,080 --> 00:12:13,800 Speaker 1: cultural impact that role would have when you were playing it? 196 00:12:14,559 --> 00:12:21,360 Speaker 3: No? No, But Julie Stein, who had written Gypsy m 197 00:12:22,040 --> 00:12:26,200 Speaker 3: this was before he even wrote Funny Girl, invited me 198 00:12:26,320 --> 00:12:30,240 Speaker 3: to his apartment with Alan and Marilyn bergman. 199 00:12:30,080 --> 00:12:35,480 Speaker 1: Ah, the wonderful songwriting duo and such an amazing couple. 200 00:12:35,760 --> 00:12:39,440 Speaker 3: Yeah, and who ended up being, you know, my family. 201 00:12:40,640 --> 00:12:43,360 Speaker 3: They played something for me that they thought I might 202 00:12:43,360 --> 00:12:48,400 Speaker 3: be interested a new Broadway show. And that's when I 203 00:12:48,440 --> 00:12:51,640 Speaker 3: didn't realize Julie Stein was a big gambler. I just wondered, 204 00:12:51,679 --> 00:12:54,199 Speaker 3: how do you live on Park Avenue and you only 205 00:12:54,240 --> 00:12:57,120 Speaker 3: have a card table in the living room? You know, 206 00:12:57,160 --> 00:12:59,800 Speaker 3: I thought that's interesting. Can I ask for a sandwich 207 00:12:59,840 --> 00:13:02,280 Speaker 3: and between shows that I can get a for your Holezelle. 208 00:13:02,960 --> 00:13:08,120 Speaker 3: So I remember Maggie, his wife, gave me something I love, 209 00:13:08,320 --> 00:13:11,679 Speaker 3: like white, soft, white bread with some chicken in it, 210 00:13:11,880 --> 00:13:16,400 Speaker 3: you know, and mayo, a little mustard perhaps. But they 211 00:13:16,440 --> 00:13:19,360 Speaker 3: played the score for me and I said, you know, 212 00:13:19,679 --> 00:13:23,640 Speaker 3: this is not anything that's right for me. And Marilyn 213 00:13:23,720 --> 00:13:27,319 Speaker 3: tells me this story, she said, you know, and then 214 00:13:27,400 --> 00:13:31,560 Speaker 3: you went on to describe what you wanted to do next, 215 00:13:31,679 --> 00:13:34,880 Speaker 3: what you wanted to do in the theater, what kind 216 00:13:34,920 --> 00:13:40,600 Speaker 3: of role. I wanted a dramatic story, a story where 217 00:13:40,640 --> 00:13:44,360 Speaker 3: I could stretch myself, you know, play her as some 218 00:13:44,480 --> 00:13:48,319 Speaker 3: person young and then older. And it had to be 219 00:13:48,679 --> 00:13:52,880 Speaker 3: a story that I could really relate to and feel 220 00:13:52,920 --> 00:13:57,320 Speaker 3: like I was using my acting capacity, you know. And 221 00:13:57,400 --> 00:14:01,840 Speaker 3: she said in retrospect, she said, you dinny girl, before 222 00:14:01,880 --> 00:14:03,240 Speaker 3: I had ever heard of it. 223 00:14:04,040 --> 00:14:05,120 Speaker 2: Well there's another. 224 00:14:06,360 --> 00:14:07,959 Speaker 3: I'm telling you. I'm telling you. 225 00:14:12,240 --> 00:14:16,000 Speaker 1: Just two years after, Barbara conjured up that perfect role 226 00:14:16,040 --> 00:14:19,360 Speaker 1: for herself in her mind, she would be playing the 227 00:14:19,480 --> 00:14:23,360 Speaker 1: role of comedian and actress Fanny Brice in the hit 228 00:14:23,600 --> 00:14:29,760 Speaker 1: Broadway musical Funny Girl. Critics and theater goers were blown 229 00:14:29,800 --> 00:14:33,720 Speaker 1: away by her performance. Since she was appearing on all 230 00:14:33,800 --> 00:14:36,880 Speaker 1: the talk shows and showing up on the covers of 231 00:14:36,920 --> 00:14:41,040 Speaker 1: all the big magazines and getting fan mail from admirers 232 00:14:41,080 --> 00:14:45,880 Speaker 1: like Henry Fonda and Frank Sinatra. You'd think she had arrived, 233 00:14:46,160 --> 00:14:51,960 Speaker 1: but no, Barbara was just getting started. Next up, we 234 00:14:52,040 --> 00:14:56,360 Speaker 1: talk about her introduction to the big screen. That's right 235 00:14:56,400 --> 00:15:12,160 Speaker 1: after the break, so please stay with us. A big 236 00:15:12,200 --> 00:15:16,920 Speaker 1: part of Barber's book is about being in and creating movies. 237 00:15:17,400 --> 00:15:21,000 Speaker 1: To understand the allure they had for her, we have 238 00:15:21,120 --> 00:15:24,920 Speaker 1: to go back to when she was about thirteen years old, 239 00:15:25,480 --> 00:15:29,040 Speaker 1: living in a small apartment with her mother and her 240 00:15:29,360 --> 00:15:35,520 Speaker 1: very difficult stepfather. She talks about those days so vividly. 241 00:15:37,240 --> 00:15:40,640 Speaker 3: I used to eat over a pot, you know, in 242 00:15:40,680 --> 00:15:43,680 Speaker 3: this little kitchen from the projects. I mean they were 243 00:15:43,800 --> 00:15:45,720 Speaker 3: tiny little kitchens. 244 00:15:45,880 --> 00:15:47,560 Speaker 2: Yes, God, what do. 245 00:15:47,600 --> 00:15:49,440 Speaker 3: You just say? I mean, I thought it was normal 246 00:15:49,520 --> 00:15:51,600 Speaker 3: at the time till I saw other people and how 247 00:15:51,640 --> 00:15:54,080 Speaker 3: they lived and how they sit down at dinner. I 248 00:15:54,200 --> 00:15:58,479 Speaker 3: was like a wild animal in a way, very primitive, 249 00:15:58,640 --> 00:16:02,720 Speaker 3: you know. I just was a taught manners or anything. Donna, 250 00:16:02,840 --> 00:16:06,160 Speaker 3: Karen and I talk about how we both sat with 251 00:16:06,240 --> 00:16:10,680 Speaker 3: our knees up, one knee sitting at a dining room table. 252 00:16:10,960 --> 00:16:14,080 Speaker 1: But you were also at this time living with an 253 00:16:14,120 --> 00:16:16,480 Speaker 1: emotionally abusive stepfather. 254 00:16:16,000 --> 00:16:21,720 Speaker 3: Exactly who never saw me, never spoke to me, really literally, 255 00:16:21,880 --> 00:16:26,920 Speaker 3: never asked a question like how a school or how 256 00:16:26,920 --> 00:16:30,840 Speaker 3: are you doing or anything. Yeah, so I never felt seen. 257 00:16:31,560 --> 00:16:36,680 Speaker 3: I think that that was my motive. I think that 258 00:16:36,720 --> 00:16:40,640 Speaker 3: when I saw movies. When I first saw Marlon Brando 259 00:16:40,960 --> 00:16:44,240 Speaker 3: when I was thirteen, and we didn't know in those days, 260 00:16:44,280 --> 00:16:47,280 Speaker 3: you know, that there were times for movies. So I 261 00:16:47,320 --> 00:16:50,800 Speaker 3: would come in the middle of movies because I didn't 262 00:16:50,840 --> 00:16:54,360 Speaker 3: realize they started at a certain time. And I saw 263 00:16:54,440 --> 00:16:57,400 Speaker 3: Marlon Brando and he just knocked me for a loop. 264 00:16:57,720 --> 00:16:59,280 Speaker 2: Oh well, he was so beautiful. 265 00:16:59,520 --> 00:17:03,720 Speaker 3: He was incredibly beautiful, wasn't he. I mean, drop dead 266 00:17:03,800 --> 00:17:07,879 Speaker 3: gorgeous with his strange nose kind of to the side 267 00:17:07,920 --> 00:17:11,679 Speaker 3: and a bump. I loved his bump. The sound of 268 00:17:11,760 --> 00:17:17,320 Speaker 3: his voice. Yeah, and his his just his whatever you 269 00:17:17,400 --> 00:17:22,159 Speaker 3: call that, that charisma and his honesty, you know, And 270 00:17:22,200 --> 00:17:25,480 Speaker 3: that's why I think we became friends. Not that I'm 271 00:17:25,520 --> 00:17:29,359 Speaker 3: saying that about myself, but that's what drew me to him. 272 00:17:29,400 --> 00:17:31,680 Speaker 1: But you should say that about yourself, because that comes 273 00:17:31,720 --> 00:17:34,040 Speaker 1: across in the book. I mean, I'll say it for you. 274 00:17:34,040 --> 00:17:38,240 Speaker 1: You come across as as being really honest. I mean 275 00:17:39,160 --> 00:17:43,640 Speaker 1: in a way that is unusual for anyone, but especially 276 00:17:43,680 --> 00:17:47,840 Speaker 1: a young woman just starting out. The questions you asked, 277 00:17:47,840 --> 00:17:50,960 Speaker 1: the observations you made, and you know, in the book 278 00:17:51,000 --> 00:17:54,960 Speaker 1: you talk about the attitude of the so called boys club, 279 00:17:56,160 --> 00:18:01,199 Speaker 1: first working on Broadway, then in film, even during a 280 00:18:01,400 --> 00:18:05,000 Speaker 1: television interview with Mike Wallace. You know, there's so much 281 00:18:05,280 --> 00:18:09,920 Speaker 1: to the challenge of navigating men's egos and expectations. 282 00:18:10,440 --> 00:18:13,919 Speaker 2: How would you describe how you did that? 283 00:18:14,720 --> 00:18:17,720 Speaker 1: Unfortunately, it still is a reality in the lives of 284 00:18:17,800 --> 00:18:21,720 Speaker 1: so many, uh, you know, women trying to navigate careers. 285 00:18:21,840 --> 00:18:25,439 Speaker 3: That's what's so pathetic. I mean, we've come this way, 286 00:18:25,520 --> 00:18:29,119 Speaker 3: but we haven't really attained that equality yet, have we. 287 00:18:29,800 --> 00:18:30,000 Speaker 2: No. 288 00:18:30,160 --> 00:18:32,719 Speaker 3: I mean it's still you're a woman wanting to direct. 289 00:18:33,760 --> 00:18:36,800 Speaker 3: Isn't that interesting that you're asking me that? How did 290 00:18:36,840 --> 00:18:41,879 Speaker 3: that come about? I just had visions actually in my head. 291 00:18:42,800 --> 00:18:47,320 Speaker 3: I could imagine certain things that I had to fulfill. 292 00:18:47,400 --> 00:18:51,359 Speaker 3: I wasn't afraid of losing the job. I wasn't afraid 293 00:18:51,400 --> 00:18:54,280 Speaker 3: of that. I thought, Okay, this person turned me down, 294 00:18:54,359 --> 00:18:57,600 Speaker 3: now and I'll become a hat designer. You know. I mean, 295 00:18:58,080 --> 00:19:02,880 Speaker 3: I'll do something else, I'll pay, I'll design clothes, whatever. 296 00:19:03,480 --> 00:19:06,280 Speaker 3: So I wasn't afraid to lose, you know, to not 297 00:19:06,760 --> 00:19:09,120 Speaker 3: get what I want the first time around. 298 00:19:10,040 --> 00:19:14,000 Speaker 2: You know, through your career you have paved the way 299 00:19:14,280 --> 00:19:19,080 Speaker 2: for other women. You've produced films that wrestle with questions 300 00:19:19,080 --> 00:19:22,960 Speaker 2: of women's choices and rights, and you helped us set 301 00:19:23,119 --> 00:19:27,240 Speaker 2: up a higher standard of pay authority for women because 302 00:19:27,520 --> 00:19:30,280 Speaker 2: you know, not to put too fine a point on it, 303 00:19:30,320 --> 00:19:35,200 Speaker 2: you are still one of the only women ever to write, direct, 304 00:19:35,280 --> 00:19:39,359 Speaker 2: produce and star in a major motion picture and you 305 00:19:39,960 --> 00:19:43,159 Speaker 2: have done that, you know, with three successful films. So 306 00:19:44,200 --> 00:19:50,520 Speaker 2: your honesty, which some people can be upset about, especially men, 307 00:19:51,320 --> 00:19:54,359 Speaker 2: really kind of cleared the decks for you to keep 308 00:19:54,440 --> 00:19:57,320 Speaker 2: moving even when you met disappointment or rejection. 309 00:19:57,920 --> 00:20:01,480 Speaker 3: It's just that I was never taught manners in a sense, 310 00:20:02,040 --> 00:20:04,600 Speaker 3: you know, I just come to the point I'm blunt 311 00:20:04,640 --> 00:20:08,240 Speaker 3: about it. Also, when you have a vision of something, 312 00:20:08,320 --> 00:20:12,359 Speaker 3: let's say a movie or an album or something like that, 313 00:20:13,000 --> 00:20:16,000 Speaker 3: I think it has to be a singular vision. In 314 00:20:16,040 --> 00:20:19,480 Speaker 3: other words, doing a movie. Yeah, that's why it was 315 00:20:19,520 --> 00:20:22,520 Speaker 3: so hard to get yentl made fifteen years because it 316 00:20:22,600 --> 00:20:25,320 Speaker 3: was like you want to direct, you want to write, 317 00:20:25,480 --> 00:20:27,800 Speaker 3: you want to do this, and the same time, well, 318 00:20:27,800 --> 00:20:30,440 Speaker 3: how can you do that? Well there were men doing that, 319 00:20:30,880 --> 00:20:33,639 Speaker 3: There certainly were, you know, And so what does it 320 00:20:33,680 --> 00:20:37,000 Speaker 3: have to do with my gender? I think you really 321 00:20:37,080 --> 00:20:41,240 Speaker 3: have to have an overall vision. What does it look like? 322 00:20:41,600 --> 00:20:44,199 Speaker 3: How to tell the story? You know? What do the 323 00:20:44,240 --> 00:20:47,120 Speaker 3: shots look like? I mean, how does the camera move? 324 00:20:47,520 --> 00:20:50,840 Speaker 3: How do you tell the story of each person? How 325 00:20:50,880 --> 00:20:54,240 Speaker 3: do you limit the movement? You know what I mean, 326 00:20:54,280 --> 00:20:58,600 Speaker 3: There's so many things that interest me beside acting. Put 327 00:20:58,640 --> 00:21:02,679 Speaker 3: it that way. To me, it's that's the easy job. 328 00:21:03,160 --> 00:21:06,719 Speaker 1: But the vision comes across in the book. It's almost 329 00:21:06,760 --> 00:21:10,919 Speaker 1: like there are two parallel stories, I mean, the story 330 00:21:10,960 --> 00:21:14,400 Speaker 1: of your life, you know. But also then you spend 331 00:21:15,200 --> 00:21:20,560 Speaker 1: a really considerable amount of time sort of explaining the 332 00:21:20,680 --> 00:21:24,320 Speaker 1: movies you were in and the questions you had. I mean, 333 00:21:24,359 --> 00:21:27,159 Speaker 1: obviously with yentl, the you know, the fact that you 334 00:21:27,240 --> 00:21:31,320 Speaker 1: were writing it, acting in it, and directing it gives 335 00:21:31,359 --> 00:21:32,280 Speaker 1: the reader. 336 00:21:32,320 --> 00:21:36,320 Speaker 2: Such a front row seat and how movies are made. 337 00:21:36,520 --> 00:21:42,439 Speaker 3: I found talking about the process more interesting than talking 338 00:21:42,480 --> 00:21:46,159 Speaker 3: about myself. Put it that way, I never watched my 339 00:21:46,280 --> 00:21:49,680 Speaker 3: movies once I finished them. I'm not like Ronald Reagan 340 00:21:49,720 --> 00:21:52,119 Speaker 3: who used to sit and watch the movies. I was told, 341 00:21:52,880 --> 00:21:55,399 Speaker 3: but no, I can't. I can't listen to my music. 342 00:21:55,480 --> 00:21:57,080 Speaker 3: I can't listen to my albums. 343 00:21:57,760 --> 00:21:59,640 Speaker 1: Oh my gosh, you're kidding. So you don't watch your 344 00:21:59,640 --> 00:22:01,720 Speaker 1: movies and you don't listen to your singing. 345 00:22:01,800 --> 00:22:06,040 Speaker 3: No I can't. I mean, after I finished the book, 346 00:22:06,080 --> 00:22:10,399 Speaker 3: I couldn't read it. Working on it for ten years, 347 00:22:10,600 --> 00:22:14,840 Speaker 3: I thought, when I finished, you know, the epilogue, I'm 348 00:22:14,880 --> 00:22:19,160 Speaker 3: trying to design the cover and the because again, it's 349 00:22:19,240 --> 00:22:22,080 Speaker 3: like making a movie to me, I have to design 350 00:22:22,160 --> 00:22:25,560 Speaker 3: the cover. That's my way of doing, you know, being 351 00:22:25,600 --> 00:22:27,520 Speaker 3: in control in a sense. 352 00:22:28,040 --> 00:22:31,080 Speaker 1: But you know, I mean when somebody says that a 353 00:22:31,119 --> 00:22:34,639 Speaker 1: woman has to be in control, I always roll my eyes, 354 00:22:34,920 --> 00:22:40,240 Speaker 1: because you know, somebody who's making big bets, who's taking 355 00:22:40,400 --> 00:22:44,200 Speaker 1: big risks like you have with your career and your 356 00:22:44,240 --> 00:22:45,120 Speaker 1: life going all. 357 00:22:45,040 --> 00:22:45,600 Speaker 2: The way back. 358 00:22:46,320 --> 00:22:48,680 Speaker 1: I mean, yeah, you do want to be in control 359 00:22:48,760 --> 00:22:51,000 Speaker 1: to the extent any human being is ever in control. 360 00:22:51,119 --> 00:22:54,880 Speaker 1: That's right, And anybody who reads this book will see 361 00:22:55,000 --> 00:22:57,800 Speaker 1: that you are so much more right than not in 362 00:22:57,960 --> 00:23:01,480 Speaker 1: the decisions you're making and in the you know direction 363 00:23:01,600 --> 00:23:04,800 Speaker 1: you want to go. And of course, as someone who 364 00:23:05,560 --> 00:23:09,639 Speaker 1: knows you and cares about you, the best decision was 365 00:23:09,760 --> 00:23:14,639 Speaker 1: marrying James Broland Jim Brolan, I mean, I love the 366 00:23:14,680 --> 00:23:18,640 Speaker 1: way you get to that. I mean, I'm waiting for it. 367 00:23:18,720 --> 00:23:22,000 Speaker 1: I'm reading It's three forty in the morning. Come on, 368 00:23:22,400 --> 00:23:25,399 Speaker 1: come on, let's get moving. We've gone through your very 369 00:23:25,760 --> 00:23:29,080 Speaker 1: you know, your very sweet first marriage with Elliot Gould, 370 00:23:29,160 --> 00:23:32,760 Speaker 1: who we all like and loved seeing, and then you know, 371 00:23:32,840 --> 00:23:35,240 Speaker 1: there are a couple of other interesting men that kind 372 00:23:35,240 --> 00:23:36,560 Speaker 1: of go in and out of your life. 373 00:23:36,760 --> 00:23:39,919 Speaker 3: I can't talk about them. See. You know. My editor 374 00:23:40,080 --> 00:23:44,000 Speaker 3: was wonderful. She kept saying, I can't tell that. I 375 00:23:44,040 --> 00:23:46,600 Speaker 3: can't say that. No, no, you have to do you 376 00:23:46,680 --> 00:23:51,479 Speaker 3: have to let people in somewhat to your intimate life. 377 00:23:52,040 --> 00:23:54,600 Speaker 3: But I can't even read it or talk about I 378 00:23:54,600 --> 00:23:58,920 Speaker 3: can't mention names. Even I'm so still a little embarrassed 379 00:23:58,960 --> 00:23:59,280 Speaker 3: by it. 380 00:23:59,560 --> 00:24:02,760 Speaker 1: Well that's I've skipped everybody from Elliott to Jim. 381 00:24:03,080 --> 00:24:04,520 Speaker 3: Okay, good, thank you so much. 382 00:24:04,520 --> 00:24:07,119 Speaker 1: I'm not asking you about anybody in between. People are 383 00:24:07,119 --> 00:24:08,800 Speaker 1: going to have to read the book. Go out and 384 00:24:08,840 --> 00:24:16,360 Speaker 1: buy the book. Barbara did share with me the story 385 00:24:16,400 --> 00:24:20,360 Speaker 1: of how she met James Brolan, her husband of twenty 386 00:24:20,440 --> 00:24:24,320 Speaker 1: five years, and that's coming up right after the break 387 00:24:34,680 --> 00:24:38,040 Speaker 1: By now you know that Barbara believes that there's no 388 00:24:38,240 --> 00:24:42,360 Speaker 1: such thing as a coincidence. Things happened for a reason. 389 00:24:43,000 --> 00:24:45,840 Speaker 1: The story of how and when Jim came into her 390 00:24:45,920 --> 00:24:49,520 Speaker 1: life is no different. And a quick note, you'll hear 391 00:24:49,600 --> 00:24:53,680 Speaker 1: her mention someone named Renata. That's Renata who's been her 392 00:24:53,840 --> 00:24:56,160 Speaker 1: personal assistant for many years. 393 00:24:57,680 --> 00:25:02,399 Speaker 3: He appeared while I was edit star. No, a mirror 394 00:25:02,400 --> 00:25:06,320 Speaker 3: has two faces. Where I took that job and that 395 00:25:06,520 --> 00:25:11,680 Speaker 3: film because for once myself as an actress playing roles 396 00:25:11,800 --> 00:25:15,399 Speaker 3: like funny girl and the way we were we don't 397 00:25:15,400 --> 00:25:18,399 Speaker 3: get the men at the end, and I thought to 398 00:25:18,480 --> 00:25:22,399 Speaker 3: myself self, maybe I should take this role. It's like 399 00:25:22,960 --> 00:25:27,719 Speaker 3: life imitates art in a sense. He shows up and 400 00:25:27,800 --> 00:25:30,560 Speaker 3: I leave my editors. While I'm editing, I had two 401 00:25:31,440 --> 00:25:34,679 Speaker 3: sections of editors, a daytime one and a nighttime. I 402 00:25:34,680 --> 00:25:37,320 Speaker 3: had no man in my life. I had room for 403 00:25:37,720 --> 00:25:41,160 Speaker 3: two sets of editors, you know, with a meal in between. 404 00:25:41,680 --> 00:25:44,360 Speaker 3: I said, because my friend had set me up with 405 00:25:44,720 --> 00:25:48,200 Speaker 3: Jim on a blind date, I told Renata, who drove 406 00:25:48,359 --> 00:25:51,159 Speaker 3: me into town, just wait, you know, it'll take me 407 00:25:51,280 --> 00:25:53,600 Speaker 3: like an hour, hour and a half and I'm going 408 00:25:53,640 --> 00:25:59,160 Speaker 3: back to work. And when I met him, I had 409 00:25:59,200 --> 00:26:03,359 Speaker 3: become used to working with men, directing men. When you 410 00:26:03,480 --> 00:26:08,479 Speaker 3: direct men, it's like they're your children. I'm comfortable touching 411 00:26:08,520 --> 00:26:10,919 Speaker 3: their hair. Normally in real life. I would never do 412 00:26:11,000 --> 00:26:13,919 Speaker 3: that to a man I was meeting too shy, you know, 413 00:26:14,760 --> 00:26:17,960 Speaker 3: But I ran my hands through his hair and said, 414 00:26:17,960 --> 00:26:19,120 Speaker 3: who fucked up your hair? 415 00:26:19,160 --> 00:26:19,639 Speaker 1: Excuse me? 416 00:26:19,720 --> 00:26:21,960 Speaker 3: Or do you? Are you allowed to say that on 417 00:26:22,400 --> 00:26:24,560 Speaker 3: your shot? 418 00:26:24,760 --> 00:26:26,320 Speaker 2: Because it's in the book. I read it. 419 00:26:26,680 --> 00:26:28,959 Speaker 3: That's true. I said to my editor to make it 420 00:26:29,359 --> 00:26:34,000 Speaker 3: f dash dash k and she said absolutely not. You 421 00:26:34,040 --> 00:26:36,440 Speaker 3: know people say these words now. 422 00:26:36,520 --> 00:26:39,680 Speaker 1: Oh, but just again for people who are going to 423 00:26:39,720 --> 00:26:40,480 Speaker 1: read it. 424 00:26:40,480 --> 00:26:42,480 Speaker 2: It's because he had a buzz cutter. You know, his 425 00:26:42,600 --> 00:26:43,800 Speaker 2: hair was really short. 426 00:26:43,960 --> 00:26:47,760 Speaker 3: Well in my new edition with the kindle, I know 427 00:26:47,800 --> 00:26:50,720 Speaker 3: I'm saying this wrong. I get them mixed up. I 428 00:26:50,720 --> 00:26:53,720 Speaker 3: don't know if it's an e book. I guess it's 429 00:26:53,720 --> 00:26:57,040 Speaker 3: that because I put in new pictures that are not 430 00:26:57,240 --> 00:27:00,160 Speaker 3: in the main book. As they pulled the book away, 431 00:27:00,720 --> 00:27:04,439 Speaker 3: I couldn't do the last minute, you know, editing, So 432 00:27:04,600 --> 00:27:07,080 Speaker 3: one of those things. I think it's called the e book. 433 00:27:07,560 --> 00:27:10,920 Speaker 3: But I remember you saying to me, he's so handsome. 434 00:27:11,520 --> 00:27:17,280 Speaker 2: He is, and he's so nice, and he's so kind 435 00:27:17,440 --> 00:27:20,000 Speaker 2: and funny. I mean, he's the whole package. 436 00:27:20,200 --> 00:27:22,640 Speaker 3: Yeah, And he said to me, I'm taking you home, 437 00:27:22,640 --> 00:27:25,040 Speaker 3: and I had a colver not and say go home, 438 00:27:25,119 --> 00:27:28,080 Speaker 3: turn on the lights, and you know he's going to 439 00:27:28,160 --> 00:27:31,919 Speaker 3: drag me home. I mean it changed my life. But 440 00:27:31,960 --> 00:27:34,719 Speaker 3: that's the reason I said that about who fucked up 441 00:27:34,760 --> 00:27:39,439 Speaker 3: your sorry? Who f dashsh k, you know, screwed up 442 00:27:39,480 --> 00:27:44,080 Speaker 3: your screwed up your hair? Because now in the ebook, 443 00:27:44,119 --> 00:27:46,600 Speaker 3: if it that's what it is, I have a picture 444 00:27:46,640 --> 00:27:48,800 Speaker 3: of him as he looked. This is the person I 445 00:27:48,840 --> 00:27:51,800 Speaker 3: thought I was meeting, you know, with dark wavy hair 446 00:27:51,840 --> 00:27:56,240 Speaker 3: and a dark beard. And then I put the picture 447 00:27:56,520 --> 00:27:58,800 Speaker 3: of what he looked like, and I said, you know 448 00:27:59,560 --> 00:28:00,520 Speaker 3: what appen into him? 449 00:28:01,000 --> 00:28:03,480 Speaker 2: You know, we've gone way over our time, so I 450 00:28:03,560 --> 00:28:04,280 Speaker 2: have to close. 451 00:28:04,400 --> 00:28:07,760 Speaker 1: But yeah, you know, your life really does have a 452 00:28:07,800 --> 00:28:13,240 Speaker 1: fairy tale quality to it. And you've broken so many 453 00:28:13,280 --> 00:28:20,360 Speaker 1: barriers in your lifetime. You've achieved so many pioneering accomplishments. 454 00:28:21,240 --> 00:28:24,639 Speaker 1: Is there anything else you still dream of doing that 455 00:28:24,720 --> 00:28:26,720 Speaker 1: you haven't done yet? 456 00:28:27,080 --> 00:28:29,480 Speaker 3: I actually like the end of the book I say, 457 00:28:29,560 --> 00:28:34,680 Speaker 3: I really look forward to not having anything special to do, 458 00:28:36,000 --> 00:28:39,239 Speaker 3: meaning just getting in the truck with him and what 459 00:28:39,280 --> 00:28:43,600 Speaker 3: we used to do early on. You know, just looking 460 00:28:43,680 --> 00:28:46,160 Speaker 3: at the world. It's almost as if I'm still a 461 00:28:46,280 --> 00:28:49,640 Speaker 3: child in a way. You know, It's like I have 462 00:28:49,800 --> 00:28:52,200 Speaker 3: so much And you know what I'm talking about when 463 00:28:52,200 --> 00:28:57,200 Speaker 3: I say such pleasure for my grandchildren, I mean looking 464 00:28:57,240 --> 00:29:00,760 Speaker 3: at the world through their eyes. And one of my 465 00:29:00,840 --> 00:29:06,400 Speaker 3: granddaughters wants to sing. So don't tell her, but I'm preparing. 466 00:29:07,160 --> 00:29:09,680 Speaker 3: Her birthday is coming up soon. She's going to be five, 467 00:29:10,600 --> 00:29:13,480 Speaker 3: so I'm giving her first of all, well beside what 468 00:29:13,560 --> 00:29:16,640 Speaker 3: I give her me singing I'm five. I'm five. I'm 469 00:29:16,680 --> 00:29:20,800 Speaker 3: a big girl now I'm five. You know. But she 470 00:29:20,840 --> 00:29:24,239 Speaker 3: wants to be a singer. Can you imagine she was 471 00:29:24,280 --> 00:29:27,000 Speaker 3: taken to the Taylor Swift Her parents took her to 472 00:29:27,040 --> 00:29:29,080 Speaker 3: the Taylor Swift concert. 473 00:29:29,720 --> 00:29:29,920 Speaker 1: You know. 474 00:29:30,160 --> 00:29:33,480 Speaker 3: I mean, she just loves music and she can. 475 00:29:33,400 --> 00:29:37,840 Speaker 2: Carry a tune. Well, I don't know. We're going to 476 00:29:37,920 --> 00:29:38,840 Speaker 2: keep an eye on her. 477 00:29:39,320 --> 00:29:42,440 Speaker 3: I know, I know, I'll let you know when her 478 00:29:42,440 --> 00:29:43,560 Speaker 3: first concert comes. 479 00:29:43,800 --> 00:29:47,680 Speaker 1: Oh, my friend, thank you for writing this amazing book. 480 00:29:48,280 --> 00:29:51,720 Speaker 3: I'm so appreciative of the fact that you liked it. 481 00:29:51,880 --> 00:29:52,360 Speaker 3: Thank you. 482 00:29:56,760 --> 00:30:00,920 Speaker 1: Barbara's new memoir is called My Name Is Barbara, and 483 00:30:01,000 --> 00:30:05,240 Speaker 1: it's available in bookstores now, and of course it's also online, 484 00:30:05,520 --> 00:30:08,880 Speaker 1: so get a copy before it sells out. And I 485 00:30:09,080 --> 00:30:13,200 Speaker 1: guarantee that you like me won't be able to put 486 00:30:13,200 --> 00:30:22,200 Speaker 1: it down. You and Me Both is brought to you 487 00:30:22,560 --> 00:30:28,560 Speaker 1: by iHeart Podcasts. We're produced by Julie Subren, Kathleen Russo 488 00:30:28,840 --> 00:30:33,600 Speaker 1: and Rob Russo, with help from Huma Abadeen, Oscar Flores, 489 00:30:33,960 --> 00:30:41,080 Speaker 1: Lindsay Hoffman, Sarah Horowitz, Laura Olin, Lonavalmorro and Lily Weber. 490 00:30:41,760 --> 00:30:46,000 Speaker 1: Our engineer is Zach McNeice, and the original music is 491 00:30:46,040 --> 00:30:49,560 Speaker 1: by Forrest Gray. If you like You and Me Both, 492 00:30:49,880 --> 00:30:52,680 Speaker 1: tell someone else about it. And if you're not already 493 00:30:52,720 --> 00:30:56,480 Speaker 1: a subscriber, what are you waiting for? You can subscribe 494 00:30:56,520 --> 00:31:01,000 Speaker 1: to You and Me Both on the iHeartRadio app, Apple Podcasts, 495 00:31:01,080 --> 00:31:03,080 Speaker 1: or wherever you get your podcasts. 496 00:31:03,600 --> 00:31:06,000 Speaker 2: Thanks for listening and I'll see you next week.