1. Barbra provided the etymology of the name Streisand. It's of Austrian descent and was originally pronounced Stroi-zund. Barbra explained that her surname is so rare that "anyone named Streisand is probably related to me."

2. In discussing her unique personality, Barbra mentioned that her husband, James Brolin, equates her persona to that of the wild child from the "Mad Max" movies. Barbra's grandmother would use the Yiddish term "farbrent" in referring to young Barbra's fiery and zealous personality.

3. Barbra talked about performing with Joan Rivers (then known as Joan Wollinsky) early on in her career in the play, "Driftwood."

4. Lipton reminded Barbra that when she attended PS 89 in Brooklyn, she was enrolled in the "Intellectually Gifted Opportunity Project," a class for academically advanced grade school children.

5. Barbra enjoyed watching Eddie Kantor movies as a child, but didn't have any favorite movie stars until she saw a Marlon Brando film at the age of 13.

6. Barbra said that, at one time she briefly toyed with the idea of adopting a stage name: either Joan Strand or Barbara Sands.

7. In speaking about her experiences at The Bon Soir, Barbra reminded the audience that the song, "My Name Is Barbra" was originally written by Leonard Bernstein as part of his "Song Cycle for Soprano."

8. In reminiscing about her performances at The Caucus Club in Detroit, Barbra related how she would pretend to adjust her earrings in order to see members of the audience who were hidden behind a pillar in the middle of the room.

9. Barbra and Lipton discussed, extensively, her audition experience for "I Can Get It For You Wholesale." She expounded on a story Arthur Laurents recalls in his autobiography.  Barbra placed a wad of gum under her chair while she performed her audition song. After the performance, Laurents went to look for the gum, assuming that Barbra was just faking. He didn't find it. As Barbra explained, it wasn't a gimmick. She put the gum back into her mouth after she sang her song.

10. Barbra talked about Fanny Brice: "I related to her. We're so alike, it's scary."

11. In discussing Omar Sharif in "Funny Girl," Lipton mentioned that the films of the Egyptian born actor were banned in Egypt after "Funny Girl" was released.

12. The discussion of Barbra's 1969 Academy Awards outfit disclosed that she was purposely trying to achieve "a little girl" look for her first Oscar win. Regarding the subsequent controversy created by her choice of wardrobe, Barbra was unfazed at the time, noting that "I'm gonna win this award more than once."

13. Of her live performance in Central Park, Barbra recalled that it was a very tense time and a rattling experience for her since the Middle East was engaged in the Six Day War.

14. Barbra acknowledged the casting of porn star Marilyn Chambers (Barney's bedroom date) in "The Owl and the Pussycat."

15. The topless scene from "The Owl and the Pussycat" (which never made the final cut of the film) was shot on a closed set with only George Segal, Herb Ross and cinematographer Harry Stradling in attendance.

16. Barbra mentioned that Elvis Presley was one of her first choices to co-star with her in "A Star Is Born."

17. Barbra told about shooting a scene in "A Star Is Born", where Esther played "Evergreen" on the guitar. The scene was based on how Barbra actually composed the song after taking guitar lessons. The scene was not used in the final cut of the film.

18. Barbra reiterated her enjoyment of the music of Eminem, but confessed that she doesn't really relate to much of it.

19. Barbra spoke candidly about the unreliability of many biographies that have been written about her over the years.

20. Lipton mentioned that, among Barbra's many honors and awards, she was also decorated by France as a Commander of the Order of Arts and Letters .

21. Lipton reminded Barbra that he was an executive producer of the Israel benefit in which Barbra performed and spoke live with Golda Meir. Of Golda, Barbra said she was "fabulous...what a woman!"

22. Ingmar Bergman, William Wyler, Sydney Pollack and Martin Scorsese each had profound influences on Barbra's aspirations to become a director.

23. In the lively discussion about "Yentl," Barbra told of how Alan and Marilyn Bergman thought making "Yentl" into a musical was a good way to commercialize the film. It would also make "Yentl" easier to pitch to studio brass.

24. The budget for "Yentl" was submitted to the studio on the same day that the disastrous reviews for "Heaven's Gate" came out. "Heaven's Gate" put "Yentl" in severe jeopardy for a time.

25. Regarding Barbra's attempts to get her record company to support "The Broadway Album," she revealed that Columbia finally green-lighted the project with the stipulation that it would not count towards her contract until it sold over 2.5 million copies. Barbra delighted in telling the audience, simply, "It did."

26. Barbra gave a complete list of what turns her on:
        "My garden, flowers and roses"
        "My husband"
        "Great conversation"
        "Great performances"

27. Lipton asked Barbra what her own favorite signature songs are. Barbra replied:
        "Happy Days Are Here Again"
         "The Way We Were"
         "People"
         "Evergreen"
         "Since I Fell For You"
         "No More Songs For Me"
 

On her original Actors Studio audition at age 15
She performed a scene from "The Young and the Fair."  Because of her age, she was technically rejected and told to come back when she was older.

On her New York and Brooklyn roots
"It's the core of me."

On her early casting calls
"It was always a power struggle, and she was always turned down. Barbra recalls saying "you'll be sorry."

On Marty Erlichman
They met during her second appearance at The Bon Soir in 1962 and have been together ever since. Barbra referred to their relationship as "a soul connection."

On her opening night in "Wholesale"
Her performance received a three minute standing ovation led by Leonard Bernstein.

On her reviews and acclaim
Barbra doesn't remember many of her reviews. She has never kept a scrapbook. She also said that she doesn't remember receiving the Drama Critics Award (she did, for "Wholesale").

On "Happy Days Are Here Again"
Barbra's performance of the ballad on "The Garry Moore Show" inspired her to record it on her first album.

On having creative control over her television specials
"You'll never get it if you don't ask for it."

On landing the movie role in "Funny Girl"
Barbra never had to perform a screen test.

On the "Swan Lake" number from "Funny Girl"
She had to take six weeks of dance and ballet classes to prepare for the scene.

On the "My Man" number from "Funny Girl"
Barbra insisted on doing the first part live because "I'm a bad lip-syncher."

On her 1969 Oscar outfit
Barbra didn't realize that is was see-thru.

On "Dolly"
"I was not right for the role" but "I liked having red hair."

On "Clear Day"
Barbra "adored" Vincente Minnelli and there was no friction on the set.

On what she wants from a director
"To want you for the role...to believe in you...to bring something out and to be inspirational."

On "The Owl and the Pussycat"
Ray Stark wanted her to sing four songs.

On her topless scene from "Owl"
The scene was cut because "it was too real. It hurt the comedy."

On George Segal
"We had a great time."

On "What's Up, Doc?"
Barbra liked Buck Henry, but didn't understand his plot. Director Peter Bogdanovich said she didn't need to understand it." "So I just did it."

On "Up the Sandbox"
It was like a European film but "audiences didn't get it."

On "The Way We Were"
Barbra and Robert Redford had "an interesting connection." They never discussed the film while shooting.

On the telephone scene from "The Way We Were"
It was done in two takes with no rehearsal.

On doing "A Star Is Born"
Barbra originally turned down the idea, but ultimately decided to do it because she needed to deliver a film for "First Artists."

On her own musical preferences
"I don't listen to music."