Speaker 1: I'm Hillary Clinton, and this is you and me both. Well,
Speaker 1: today's guest truly needs no introduction, but I'm going to
Speaker 1: give her one anyway. Barbara Streisand is a singer, actor,
Speaker 1: film director, producer, writer, activist, you name it. Her list
Speaker 1: of accomplishments spans seven decades and every facet of the
Speaker 1: entertainment industry.
Speaker 2: But the short version.
Speaker 1: Is that she is just one of a handful of
Speaker 1: people to have won one or more Emmy, Grammy, Oscar
Speaker 1: and Tony Awards. Now, some people revere Barbara for what
Speaker 1: she does with her amazing singing voice. She is, after all,
Speaker 1: one of the best selling recording artists of all time.
Speaker 1: Others love her for her iconic performances on stage and screen,
Speaker 1: from Funny Girl to was Star Is Born to Yentil,
Speaker 1: you name it. And it is not just that she's acting,
Speaker 1: but she became a director as well. None of this
Speaker 1: was preordained. As a young teenager from Brooklyn going into
Speaker 1: Manhattan in the early nineteen sixties performing in New York
Speaker 1: City nightclubs, she had no connections or any formal training.
Speaker 1: She was just a hungry kid from Flatbush who knew
Speaker 1: what she wanted and was determined to go out there
Speaker 1: and get it. You know, some early critics made negative
Speaker 1: comments about her quote unquote unconventional looks. A few talent
Speaker 1: hunters even told her to fix her nose. Thankfully, she
Speaker 1: ignored them, but no one could deny her talent. I've
Speaker 1: known Barbara since the early nineteen nineth We've supported a
Speaker 1: lot of the same political causes, including my husband's campaigns
Speaker 1: for president. Now I feel like I know her even better.
Speaker 1: After reading My Name Is Barbara, her brand new, expansive
Speaker 1: and very entertaining memoir, I was delighted she agreed to
Speaker 1: come on the podcast to talk with me about it.
Speaker 3: Hey, Barbara, can hear me, Hillary, I can hear you.
Speaker 3: I can hear you.
Speaker 1: Oh. I am so so happy to be doing this
Speaker 1: with you.
Speaker 2: But I have to tell you I have a big
Speaker 2: bone to pick.
Speaker 1: I am so sleep deprived from reading this amazing, incredible memoir.
Speaker 2: Oh I am I literally I could not sleep.
Speaker 1: I kept saying to myself, Okay, just half a chapter more.
Speaker 2: I'll get to one of the page breaks.
Speaker 1: And then I'd get to the page break and I
Speaker 1: would keep going.
Speaker 2: It is phenomenal.
Speaker 3: Oh, I'm so that is such a compliment coming from you, Hillary,
Speaker 3: It is so personal, so honest, so self reflective.
Speaker 2: I could just gush this whole podcast.
Speaker 3: That's all. Do it, do it please?
Speaker 1: It was worth the wait, my friend. You've been working
Speaker 1: on this for I don't.
Speaker 3: Know how ten years, ten years.
Speaker 1: And you know, I love the way that you opened
Speaker 1: the book by talking about the nicknames said, the descriptions
Speaker 1: of you in the press early in your career. It
Speaker 1: gave me a good idea about how to open my
Speaker 1: next book.
Speaker 3: Oh really good.
Speaker 2: Do these kinds of criticism still bother you at all?
Speaker 3: Well? Now I don't read them you either, No, I can't.
Speaker 3: I can't because I guess I used to early in
Speaker 3: my career, and I thought, but that's not true. That's
Speaker 3: not true. Why did they you know? So it's better
Speaker 3: not to read anything about yourself.
Speaker 2: I have found that after many years.
Speaker 1: You know. I also was very touched by your dedication.
Speaker 1: You dedicated your book to the father I never knew
Speaker 1: and the mother that I did when I was reading
Speaker 1: about those early years because you lost your father when
Speaker 1: you were only fifteen months old. You have a scene
Speaker 1: where you used to go up to the window to
Speaker 1: wait for him to come home.
Speaker 2: Do you remember that.
Speaker 3: I know my mother told me that story, so I
Speaker 3: know it's true.
Speaker 2: His absence was so profound to you.
Speaker 3: I guess it's so primal. And we know so much
Speaker 3: as infants. Don't you think we feel things even though
Speaker 3: we can't, you know, speak the words.
Speaker 1: Parents cast such big shadows over our lives. And you
Speaker 1: are very honest about the difficult relationship you had with
Speaker 1: your mom.
Speaker 2: It wasn't simple, was it.
Speaker 3: No? No, because I couldn't fathom that a mother could
Speaker 3: actually be jealous of her own daughter. I mean, you
Speaker 3: must have been not the word touched. I don't mean
Speaker 3: to give myself a compliment, But my relationship with Virginia,
Speaker 3: your mother in law, how about that?
Speaker 1: Well? I can barely talk about it, and for everyone listening.
Speaker 1: Barbara Matt Bill's mother Virginia at the Arkansas Inaugural ball
Speaker 1: back in January of nineteen ninety three. And you'd been
Speaker 1: such a great supporter of Bill's campaign, and it was
Speaker 1: so wonderful getting to know you starting in nineteen ninety two.
Speaker 1: But there was something magic about the connection that you
Speaker 1: and Virginia made.
Speaker 3: Well, when he said from the stage, go with my
Speaker 3: mom and Virginia took my hand. I think we were
Speaker 3: both on the stage at the time, and it was like,
Speaker 3: all of a sudden, it felt like family because we
Speaker 3: had so much invested in his becoming president, changing the country,
Speaker 3: you know, so walking that night and Richard Baskin and I,
Speaker 3: who are still friends, took that picture from the back.
Speaker 3: I love pictures from the back. You know. You don't
Speaker 3: have to see people's faces to get the emotion and
Speaker 3: the feeling of connection from a photograph, you know, I mean,
Speaker 3: it's quite extraordinary.
Speaker 1: The way you talk about Virginia and your relationship in
Speaker 1: the book was really moving. And the last public event
Speaker 1: that she did in her whole life was to go
Speaker 1: see you in your appearance in Las Vegas. And she
Speaker 1: died shortly after that. And neither Bill nor I nor
Speaker 1: anyone who knew her could have been happier for her
Speaker 1: that she got to see you return to the stage.
Speaker 3: Can you imagine? I mean, I remember talking to her
Speaker 3: on the phone and I was telling her in May
Speaker 3: for something that was going to happen at Christmas. Can
Speaker 3: you imagine New Year's Eve? Actually? And I was telling
Speaker 3: her that I decided to sing again after twenty some years,
Speaker 3: and she said, well, I have to be there. And
Speaker 3: I said, oh my god, would you really you know,
Speaker 3: schlep all the way across the country to see me.
Speaker 3: And she said of course. And I said, well, I'll
Speaker 3: be singing on a Friday or Saturday and Saturday night,
Speaker 3: so which night do you want to come? And she said, well,
Speaker 3: aren't you singing both nights? I said yeah. She said,
Speaker 3: well I want to be there both nights. You know,
Speaker 3: in the past, my mother, well even that last time
Speaker 3: I sang, you know, the first time after twenty some years,
Speaker 3: my mother didn't come to my opening night because she
Speaker 3: was out with girlfriend, she said. And she came the
Speaker 3: second night. And that's when I put a picture of
Speaker 3: Virginia and my mother. I was the cheese in the middle.
Speaker 2: That's right.
Speaker 3: The picture is very telling. You know, Virginia and I
Speaker 3: are holding hands, but my mother's hand does not clasp mine.
Speaker 3: I I don't know what to say after that.
Speaker 1: I noticed that when I got to the section of
Speaker 1: pictures in the book, I noticed exactly what you're describing.
Speaker 1: But I want to go back to your earlier days,
Speaker 1: because you know the story you tell about moving out
Speaker 1: on your own. I think what were you sixteen, Yeah,
Speaker 1: leaving Brooklyn, going to Manhattan, supporting yourself with a variety
Speaker 1: of odd jobs.
Speaker 3: I was a clerk licking envelopes.
Speaker 1: I mean, you really started your career very young. But
Speaker 1: no matter what was going on inside of you, and
Speaker 1: you write about some of your feelings, you presented yourself
Speaker 1: as self assured.
Speaker 2: I like to say, gutsy. Just describe for us how you.
Speaker 1: Made the decision number one to leave Brooklyn get to Manhattan.
Speaker 1: You always knew you wanted to be an actoract. I
Speaker 1: mean you have great reflective scenes where you're saying to yourself, well,
Speaker 1: when I'm a famous actor, when you were like thirteen
Speaker 1: years old, when I'm an actor, I'm going to do this.
Speaker 1: I mean, you always had that feeling about yourself. Where
Speaker 1: did that come from?
Speaker 3: You know, that's the mystical side of life. I think.
Speaker 3: I remember I told a story in my book that's
Speaker 3: when I got an apartment next to my acting school.
Speaker 3: I was sixteen. I turned sick. I graduated actually when
Speaker 3: I was just fifteen. But I was standing in my
Speaker 3: doorway that story that I didn't like to make my bed.
Speaker 3: I couldn't comprehend certain things like today, I can't comprehend phones.
Speaker 3: I really can't. I'm constantly asking my husband's next to
Speaker 3: me in the bed, you know, how do you do this?
Speaker 3: I mean, why does this arrow disappear? How come I
Speaker 3: can't figure it? I cannot. I'm smart about certain things,
Speaker 3: but not about phones. Anyway. I was reading a book
Speaker 3: because I liked Ibsen as a playwright, and so I
Speaker 3: bought a book called The Quintessence of Ibsenism, which I
Speaker 3: thought was going to describe his plays, because they were
Speaker 3: great parts as an actress, you know, for me. And
Speaker 3: at one point I thought I read Thoughts Transcend Matter
Speaker 3: by the way. Looking for that later on, I could
Speaker 3: never find it in the book. So I don't know
Speaker 3: where that came from. But I believed in the power
Speaker 3: of thought and how it can create reality. And I
Speaker 3: remember as if it were today, you know. I remember
Speaker 3: standing in that doorway looking at the bed, which the
Speaker 3: room was so small you could, you know, when you
Speaker 3: find a small bed and no end table or anything
Speaker 3: like that. And I thought to myself, I have to
Speaker 3: get famous in order to get somebody else to make
Speaker 3: my bed.
Speaker 2: I love that, Do you know what I mean? In
Speaker 2: other words, you know what you mean, you thought your
Speaker 2: life and you invented it.
Speaker 3: Yeah.
Speaker 2: You know, you made your Broadway debut when you were nineteen.
Speaker 1: You leave Brooklyn, you're fifteen, sixteen, you're young, you don't
Speaker 1: know how to make a bed. You go to Manhattan
Speaker 1: and you're in I can get it for your wholesale.
Speaker 2: And then two years later you're.
Speaker 1: Starring as Fanny Brice in Funny Girl, and that role
Speaker 1: was iconic, it lives in history. Did you sense the
Speaker 1: cultural impact that role would have when you were playing it?
Speaker 3: No? No, But Julie Stein, who had written Gypsy m
Speaker 3: this was before he even wrote Funny Girl, invited me
Speaker 3: to his apartment with Alan and Marilyn bergman.
Speaker 1: Ah, the wonderful songwriting duo and such an amazing couple.
Speaker 3: Yeah, and who ended up being, you know, my family.
Speaker 3: They played something for me that they thought I might
Speaker 3: be interested a new Broadway show. And that's when I
Speaker 3: didn't realize Julie Stein was a big gambler. I just wondered,
Speaker 3: how do you live on Park Avenue and you only
Speaker 3: have a card table in the living room? You know,
Speaker 3: I thought that's interesting. Can I ask for a sandwich
Speaker 3: and between shows that I can get a for your Holezelle.
Speaker 3: So I remember Maggie, his wife, gave me something I love,
Speaker 3: like white, soft, white bread with some chicken in it,
Speaker 3: you know, and mayo, a little mustard perhaps. But they
Speaker 3: played the score for me and I said, you know,
Speaker 3: this is not anything that's right for me. And Marilyn
Speaker 3: tells me this story, she said, you know, and then
Speaker 3: you went on to describe what you wanted to do next,
Speaker 3: what you wanted to do in the theater, what kind
Speaker 3: of role. I wanted a dramatic story, a story where
Speaker 3: I could stretch myself, you know, play her as some
Speaker 3: person young and then older. And it had to be
Speaker 3: a story that I could really relate to and feel
Speaker 3: like I was using my acting capacity, you know. And
Speaker 3: she said in retrospect, she said, you dinny girl, before
Speaker 3: I had ever heard of it.
Speaker 2: Well there's another.
Speaker 3: I'm telling you. I'm telling you.
Speaker 1: Just two years after, Barbara conjured up that perfect role
Speaker 1: for herself in her mind, she would be playing the
Speaker 1: role of comedian and actress Fanny Brice in the hit
Speaker 1: Broadway musical Funny Girl. Critics and theater goers were blown
Speaker 1: away by her performance. Since she was appearing on all
Speaker 1: the talk shows and showing up on the covers of
Speaker 1: all the big magazines and getting fan mail from admirers
Speaker 1: like Henry Fonda and Frank Sinatra. You'd think she had arrived,
Speaker 1: but no, Barbara was just getting started. Next up, we
Speaker 1: talk about her introduction to the big screen. That's right
Speaker 1: after the break, so please stay with us. A big
Speaker 1: part of Barber's book is about being in and creating movies.
Speaker 1: To understand the allure they had for her, we have
Speaker 1: to go back to when she was about thirteen years old,
Speaker 1: living in a small apartment with her mother and her
Speaker 1: very difficult stepfather. She talks about those days so vividly.
Speaker 3: I used to eat over a pot, you know, in
Speaker 3: this little kitchen from the projects. I mean they were
Speaker 3: tiny little kitchens.
Speaker 2: Yes, God, what do.
Speaker 3: You just say? I mean, I thought it was normal
Speaker 3: at the time till I saw other people and how
Speaker 3: they lived and how they sit down at dinner. I
Speaker 3: was like a wild animal in a way, very primitive,
Speaker 3: you know. I just was a taught manners or anything. Donna,
Speaker 3: Karen and I talk about how we both sat with
Speaker 3: our knees up, one knee sitting at a dining room table.
Speaker 1: But you were also at this time living with an
Speaker 1: emotionally abusive stepfather.
Speaker 3: Exactly who never saw me, never spoke to me, really literally,
Speaker 3: never asked a question like how a school or how
Speaker 3: are you doing or anything. Yeah, so I never felt seen.
Speaker 3: I think that that was my motive. I think that
Speaker 3: when I saw movies. When I first saw Marlon Brando
Speaker 3: when I was thirteen, and we didn't know in those days,
Speaker 3: you know, that there were times for movies. So I
Speaker 3: would come in the middle of movies because I didn't
Speaker 3: realize they started at a certain time. And I saw
Speaker 3: Marlon Brando and he just knocked me for a loop.
Speaker 2: Oh well, he was so beautiful.
Speaker 3: He was incredibly beautiful, wasn't he. I mean, drop dead
Speaker 3: gorgeous with his strange nose kind of to the side
Speaker 3: and a bump. I loved his bump. The sound of
Speaker 3: his voice. Yeah, and his his just his whatever you
Speaker 3: call that, that charisma and his honesty, you know, And
Speaker 3: that's why I think we became friends. Not that I'm
Speaker 3: saying that about myself, but that's what drew me to him.
Speaker 1: But you should say that about yourself, because that comes
Speaker 1: across in the book. I mean, I'll say it for you.
Speaker 1: You come across as as being really honest. I mean
Speaker 1: in a way that is unusual for anyone, but especially
Speaker 1: a young woman just starting out. The questions you asked,
Speaker 1: the observations you made, and you know, in the book
Speaker 1: you talk about the attitude of the so called boys club,
Speaker 1: first working on Broadway, then in film, even during a
Speaker 1: television interview with Mike Wallace. You know, there's so much
Speaker 1: to the challenge of navigating men's egos and expectations.
Speaker 2: How would you describe how you did that?
Speaker 1: Unfortunately, it still is a reality in the lives of
Speaker 1: so many, uh, you know, women trying to navigate careers.
Speaker 3: That's what's so pathetic. I mean, we've come this way,
Speaker 3: but we haven't really attained that equality yet, have we.
Speaker 2: No.
Speaker 3: I mean it's still you're a woman wanting to direct.
Speaker 3: Isn't that interesting that you're asking me that? How did
Speaker 3: that come about? I just had visions actually in my head.
Speaker 3: I could imagine certain things that I had to fulfill.
Speaker 3: I wasn't afraid of losing the job. I wasn't afraid
Speaker 3: of that. I thought, Okay, this person turned me down,
Speaker 3: now and I'll become a hat designer. You know. I mean,
Speaker 3: I'll do something else, I'll pay, I'll design clothes, whatever.
Speaker 3: So I wasn't afraid to lose, you know, to not
Speaker 3: get what I want the first time around.
Speaker 2: You know, through your career you have paved the way
Speaker 2: for other women. You've produced films that wrestle with questions
Speaker 2: of women's choices and rights, and you helped us set
Speaker 2: up a higher standard of pay authority for women because
Speaker 2: you know, not to put too fine a point on it,
Speaker 2: you are still one of the only women ever to write, direct,
Speaker 2: produce and star in a major motion picture and you
Speaker 2: have done that, you know, with three successful films. So
Speaker 2: your honesty, which some people can be upset about, especially men,
Speaker 2: really kind of cleared the decks for you to keep
Speaker 2: moving even when you met disappointment or rejection.
Speaker 3: It's just that I was never taught manners in a sense,
Speaker 3: you know, I just come to the point I'm blunt
Speaker 3: about it. Also, when you have a vision of something,
Speaker 3: let's say a movie or an album or something like that,
Speaker 3: I think it has to be a singular vision. In
Speaker 3: other words, doing a movie. Yeah, that's why it was
Speaker 3: so hard to get yentl made fifteen years because it
Speaker 3: was like you want to direct, you want to write,
Speaker 3: you want to do this, and the same time, well,
Speaker 3: how can you do that? Well there were men doing that,
Speaker 3: There certainly were, you know, And so what does it
Speaker 3: have to do with my gender? I think you really
Speaker 3: have to have an overall vision. What does it look like?
Speaker 3: How to tell the story? You know? What do the
Speaker 3: shots look like? I mean, how does the camera move?
Speaker 3: How do you tell the story of each person? How
Speaker 3: do you limit the movement? You know what I mean,
Speaker 3: There's so many things that interest me beside acting. Put
Speaker 3: it that way. To me, it's that's the easy job.
Speaker 1: But the vision comes across in the book. It's almost
Speaker 1: like there are two parallel stories, I mean, the story
Speaker 1: of your life, you know. But also then you spend
Speaker 1: a really considerable amount of time sort of explaining the
Speaker 1: movies you were in and the questions you had. I mean,
Speaker 1: obviously with yentl, the you know, the fact that you
Speaker 1: were writing it, acting in it, and directing it gives
Speaker 1: the reader.
Speaker 2: Such a front row seat and how movies are made.
Speaker 3: I found talking about the process more interesting than talking
Speaker 3: about myself. Put it that way, I never watched my
Speaker 3: movies once I finished them. I'm not like Ronald Reagan
Speaker 3: who used to sit and watch the movies. I was told,
Speaker 3: but no, I can't. I can't listen to my music.
Speaker 3: I can't listen to my albums.
Speaker 1: Oh my gosh, you're kidding. So you don't watch your
Speaker 1: movies and you don't listen to your singing.
Speaker 3: No I can't. I mean, after I finished the book,
Speaker 3: I couldn't read it. Working on it for ten years,
Speaker 3: I thought, when I finished, you know, the epilogue, I'm
Speaker 3: trying to design the cover and the because again, it's
Speaker 3: like making a movie to me, I have to design
Speaker 3: the cover. That's my way of doing, you know, being
Speaker 3: in control in a sense.
Speaker 1: But you know, I mean when somebody says that a
Speaker 1: woman has to be in control, I always roll my eyes,
Speaker 1: because you know, somebody who's making big bets, who's taking
Speaker 1: big risks like you have with your career and your
Speaker 1: life going all.
Speaker 2: The way back.
Speaker 1: I mean, yeah, you do want to be in control
Speaker 1: to the extent any human being is ever in control.
Speaker 1: That's right, And anybody who reads this book will see
Speaker 1: that you are so much more right than not in
Speaker 1: the decisions you're making and in the you know direction
Speaker 1: you want to go. And of course, as someone who
Speaker 1: knows you and cares about you, the best decision was
Speaker 1: marrying James Broland Jim Brolan, I mean, I love the
Speaker 1: way you get to that. I mean, I'm waiting for it.
Speaker 1: I'm reading It's three forty in the morning. Come on,
Speaker 1: come on, let's get moving. We've gone through your very
Speaker 1: you know, your very sweet first marriage with Elliot Gould,
Speaker 1: who we all like and loved seeing, and then you know,
Speaker 1: there are a couple of other interesting men that kind
Speaker 1: of go in and out of your life.
Speaker 3: I can't talk about them. See. You know. My editor
Speaker 3: was wonderful. She kept saying, I can't tell that. I
Speaker 3: can't say that. No, no, you have to do you
Speaker 3: have to let people in somewhat to your intimate life.
Speaker 3: But I can't even read it or talk about I
Speaker 3: can't mention names. Even I'm so still a little embarrassed
Speaker 3: by it.
Speaker 1: Well that's I've skipped everybody from Elliott to Jim.
Speaker 3: Okay, good, thank you so much.
Speaker 1: I'm not asking you about anybody in between. People are
Speaker 1: going to have to read the book. Go out and
Speaker 1: buy the book. Barbara did share with me the story
Speaker 1: of how she met James Brolan, her husband of twenty
Speaker 1: five years, and that's coming up right after the break
Speaker 1: By now you know that Barbara believes that there's no
Speaker 1: such thing as a coincidence. Things happened for a reason.
Speaker 1: The story of how and when Jim came into her
Speaker 1: life is no different. And a quick note, you'll hear
Speaker 1: her mention someone named Renata. That's Renata who's been her
Speaker 1: personal assistant for many years.
Speaker 3: He appeared while I was edit star. No, a mirror
Speaker 3: has two faces. Where I took that job and that
Speaker 3: film because for once myself as an actress playing roles
Speaker 3: like funny girl and the way we were we don't
Speaker 3: get the men at the end, and I thought to
Speaker 3: myself self, maybe I should take this role. It's like
Speaker 3: life imitates art in a sense. He shows up and
Speaker 3: I leave my editors. While I'm editing, I had two
Speaker 3: sections of editors, a daytime one and a nighttime. I
Speaker 3: had no man in my life. I had room for
Speaker 3: two sets of editors, you know, with a meal in between.
Speaker 3: I said, because my friend had set me up with
Speaker 3: Jim on a blind date, I told Renata, who drove
Speaker 3: me into town, just wait, you know, it'll take me
Speaker 3: like an hour, hour and a half and I'm going
Speaker 3: back to work. And when I met him, I had
Speaker 3: become used to working with men, directing men. When you
Speaker 3: direct men, it's like they're your children. I'm comfortable touching
Speaker 3: their hair. Normally in real life. I would never do
Speaker 3: that to a man I was meeting too shy, you know,
Speaker 3: But I ran my hands through his hair and said,
Speaker 3: who fucked up your hair?
Speaker 1: Excuse me?
Speaker 3: Or do you? Are you allowed to say that on
Speaker 3: your shot?
Speaker 2: Because it's in the book. I read it.
Speaker 3: That's true. I said to my editor to make it
Speaker 3: f dash dash k and she said absolutely not. You
Speaker 3: know people say these words now.
Speaker 1: Oh, but just again for people who are going to
Speaker 1: read it.
Speaker 2: It's because he had a buzz cutter. You know, his
Speaker 2: hair was really short.
Speaker 3: Well in my new edition with the kindle, I know
Speaker 3: I'm saying this wrong. I get them mixed up. I
Speaker 3: don't know if it's an e book. I guess it's
Speaker 3: that because I put in new pictures that are not
Speaker 3: in the main book. As they pulled the book away,
Speaker 3: I couldn't do the last minute, you know, editing, So
Speaker 3: one of those things. I think it's called the e book.
Speaker 3: But I remember you saying to me, he's so handsome.
Speaker 2: He is, and he's so nice, and he's so kind
Speaker 2: and funny. I mean, he's the whole package.
Speaker 3: Yeah, And he said to me, I'm taking you home,
Speaker 3: and I had a colver not and say go home,
Speaker 3: turn on the lights, and you know he's going to
Speaker 3: drag me home. I mean it changed my life. But
Speaker 3: that's the reason I said that about who fucked up
Speaker 3: your sorry? Who f dashsh k, you know, screwed up
Speaker 3: your screwed up your hair? Because now in the ebook,
Speaker 3: if it that's what it is, I have a picture
Speaker 3: of him as he looked. This is the person I
Speaker 3: thought I was meeting, you know, with dark wavy hair
Speaker 3: and a dark beard. And then I put the picture
Speaker 3: of what he looked like, and I said, you know
Speaker 3: what appen into him?
Speaker 2: You know, we've gone way over our time, so I
Speaker 2: have to close.
Speaker 1: But yeah, you know, your life really does have a
Speaker 1: fairy tale quality to it. And you've broken so many
Speaker 1: barriers in your lifetime. You've achieved so many pioneering accomplishments.
Speaker 1: Is there anything else you still dream of doing that
Speaker 1: you haven't done yet?
Speaker 3: I actually like the end of the book I say,
Speaker 3: I really look forward to not having anything special to do,
Speaker 3: meaning just getting in the truck with him and what
Speaker 3: we used to do early on. You know, just looking
Speaker 3: at the world. It's almost as if I'm still a
Speaker 3: child in a way. You know, It's like I have
Speaker 3: so much And you know what I'm talking about when
Speaker 3: I say such pleasure for my grandchildren, I mean looking
Speaker 3: at the world through their eyes. And one of my
Speaker 3: granddaughters wants to sing. So don't tell her, but I'm preparing.
Speaker 3: Her birthday is coming up soon. She's going to be five,
Speaker 3: so I'm giving her first of all, well beside what
Speaker 3: I give her me singing I'm five. I'm five. I'm
Speaker 3: a big girl now I'm five. You know. But she
Speaker 3: wants to be a singer. Can you imagine she was
Speaker 3: taken to the Taylor Swift Her parents took her to
Speaker 3: the Taylor Swift concert.
Speaker 1: You know.
Speaker 3: I mean, she just loves music and she can.
Speaker 2: Carry a tune. Well, I don't know. We're going to
Speaker 2: keep an eye on her.
Speaker 3: I know, I know, I'll let you know when her
Speaker 3: first concert comes.
Speaker 1: Oh, my friend, thank you for writing this amazing book.
Speaker 3: I'm so appreciative of the fact that you liked it.
Speaker 3: Thank you.
Speaker 1: Barbara's new memoir is called My Name Is Barbara, and
Speaker 1: it's available in bookstores now, and of course it's also online,
Speaker 1: so get a copy before it sells out. And I
Speaker 1: guarantee that you like me won't be able to put
Speaker 1: it down. You and Me Both is brought to you
Speaker 1: by iHeart Podcasts. We're produced by Julie Subren, Kathleen Russo
Speaker 1: and Rob Russo, with help from Huma Abadeen, Oscar Flores,
Speaker 1: Lindsay Hoffman, Sarah Horowitz, Laura Olin, Lonavalmorro and Lily Weber.
Speaker 1: Our engineer is Zach McNeice, and the original music is
Speaker 1: by Forrest Gray. If you like You and Me Both,
Speaker 1: tell someone else about it. And if you're not already
Speaker 1: a subscriber, what are you waiting for? You can subscribe
Speaker 1: to You and Me Both on the iHeartRadio app, Apple Podcasts,
Speaker 1: or wherever you get your podcasts.
Speaker 2: Thanks for listening and I'll see you next week.