Hello, Gorgeous: Becoming Barbra Streisand

( 46 )

Overview

“Barbra Streisand’s story may be the most triumphant case of revenge in show business history . . . Mann vividly evokes the atmosphere of Streisand’s New York.”—New York Times

In 1960, Barbra Streisand was just a seventeen-year-old Brooklyn kid with plenty of talent but no connections and certainly no money; her mother brought her soup to make sure she stayed fed as she took acting classes and scraped out a living. Just four years later, she was the top-selling female recording ...

See more details below
Paperback
$11.55
BN.com price
(Save 31%)$16.95 List Price

Pick Up In Store

Reserve and pick up in 60 minutes at your local store

Other sellers (Paperback)
  • All (27) from $1.99   
  • New (19) from $5.40   
  • Used (8) from $1.99   
Hello, Gorgeous: Becoming Barbra Streisand

Available on NOOK devices and apps  
  • NOOK Devices
  • NOOK HD/HD+ Tablet
  • NOOK
  • NOOK Color
  • NOOK Tablet
  • Tablet/Phone
  • NOOK for Windows 8 Tablet
  • NOOK for iOS
  • NOOK for Android
  • NOOK Kids for iPad
  • PC/Mac
  • NOOK for Windows 8
  • NOOK for PC
  • NOOK for Mac
  • NOOK Study
  • NOOK for Web

Want a NOOK? Explore Now

NOOK Book (eBook)
$9.99
BN.com price
(Save 41%)$16.95 List Price

Overview

“Barbra Streisand’s story may be the most triumphant case of revenge in show business history . . . Mann vividly evokes the atmosphere of Streisand’s New York.”—New York Times

In 1960, Barbra Streisand was just a seventeen-year-old Brooklyn kid with plenty of talent but no connections and certainly no money; her mother brought her soup to make sure she stayed fed as she took acting classes and scraped out a living. Just four years later, she was the top-selling female recording artist in America and the star of one of Broadway’s biggest hits. In Hello, Gorgeous, the acclaimed Hollywood biographer William Mann chronicles that dizzying ascent, telling the riveting behind-the-scenes story of how Streisand and her team transformed her from an unknown dreamer into one of the world’s most beloved superstars.

“Trying to figure out the Barbra Streisand mystique is no easy task, but author William Mann expertly captures the launch of her remarkable career in the early 1960s when a unique ‘star was born’ . . . Mann's meticulous research and insightful analysis go deeper than any previous biography: shedding light on the formative years that shaped Streisand's persona, debunking some myths . . . and providing a cultural snapshot of the wild and free-spirited era in which Streisand blossomed.”—USA Today

“In his masterful book, Mann captures one of the most fully realized pictures of the multi-hyphenate superstar to date . . . Many books have been written about Streisand but few, if any, put readers as close to the subject as Mann does."—Miami Herald

Read More Show Less

Editorial Reviews

From Barnes & Noble

In previous biographies, William J. Mann has chronicled the lives of Elizabeth Taylor and Katherine Hepburn, two talented actresses whose riveting beauty seemed to ensure their fame. With Hello, Gorgeous, he turns his attention to Barbra Streisand, who has been described impolitely as an awkward ugly duckling who gate-crashed her way to fame. That image, which Barbra herself reinforced with her early choice of roles, conceals her multiple talents, her extraordinary drive, and her complexity. In this full-bodied (656-page) exploration of Streisand's early years, Mann describes the rise of the Brooklyn-born singer who began her career in "off-off-off Broadway" productions and small gay Greenwich Village nightclubs. A fascinating biography that tells us how Barbara became Barbra.

From the Publisher
"Trying to figure out the Barbra Streisand mystique is no easy task, but Mann expertly captures the launch of her remarkable career in the early 1960s when a unique 'star was born.' Mann's meticulous research and insightful analysis go deeper than any previous biography..."—USA TODAY

"[An] excellent new work...One can only put down Hello, Gorgeous with renewed appreciation for Barbra’s single-mindedness, and with some glimpse of her inner struggle."-Liz Smith, syndicated columnist

"[A] surprisingly suspenseful and masterfully paced biography."—Kirkus (starred)

"Streisand fans will come away feeling they’ve had a ringside seat at her early career, and they will leave the show applauding."—Booklist

"A compelling, detailed look at the rise of the multitalented Streisand from 17-year-old unknown to chart-topping singer and Broadway star. Highly recommended for fans of Streisand, biographies, and theater."—Library Journal

"Combining extensive interviews (some anonymous) and exhaustive archival research, Mann balances intimate personal details with audience reactions and critical acclaim to etch an indelible portrait of the artist as a young woman."—Publishers Weekly

"…[I]n his masterful Hello, Gorgeous: Becoming Barbra Streisand, he [Mann] captures one of the most fully realized pictures of the multi-hyphenate superstar to date." –Howard Cohen, The Miami Herald

The New York Times Book Review
…little of the fact and anecdote in Mann's 500 pages of text is new. But he has pored over previous books…and hundreds of clippings, done a few dozen interviews, delved deeply into the supporting cast and locales, and written a novelized biography notable for its breadth of detail and fair-mindedness.
—James Gavin
The Washington Post
It's helpful to the uninitiated that Mann…once counted himself among the uninitiated. He approaches his work not as a starry-eyed super fan, but as a curious and meticulous journalist, one who is appropriately complimentary of Streisand but also candid about her shortcomings. This gives him the proper voice to relay what is essentially a recap of the era during which she proved that she was, as the Funny Girl song goes, a comer: the period between the winter of 1960 and the spring of 1964, when she changed from pimply, ambitious teen into Tony Award-winning Broadway star and enormously successful recording artist.
—Jen Chaney
Publishers Weekly
Bestselling biographer Mann (of Katharine Hepburn and Elizabeth Taylor) chronicles the dazzling series of events as Streisand “gate-crashed her way to fame.” Mann tightens the focus in this hefty volume to just the early, formative years of her career, choosing 1964 as his cutoff point. Beginning with her 1960 acting classes at age 17 and her friends then, he traces her journey as a performer. Boyfriend Barré Dennen steered her away from acting into singing, giving her an education on the great female vocalists and helping her develop a club act. After winning contests at a gay Greenwich Village club, she changed her name from Barbara to Barbra (to become “the only Barbra in the world”). Her nightclub performances “displayed the raw power of Piaf,” and word spread. After her TV debut on The Tonight Show, she arrived on Broadway in 1962 in I Can Get It for You Wholesale, followed by Funny Girl two years later. The marketing of Streisand and the men in her life are key themes throughout. Combining extensive interviews (some anonymous) and exhaustive archival research, Mann balances intimate personal details with audience reactions and critical acclaim to etch an indelible portrait of the artist as a young woman. 16-page and 8-page b&w photo inserts. Agent: Malaga Baldi, Baldi Agency. (Oct. 9)
Library Journal
A noted biographer of Elizabeth Taylor and Katharine Hepburn, Mann does something a little different here, focusing on Barbra Streisand's breakout years: the early Sixties, when she vaulted from hopeful nobody to the star of Funny Girl on Broadway and singer with three platinum albums. Mann drew on the private papers of folks like David Merrick, Bob Fosse, Garson Kanin, and Jerome Robbins to explain how Funny Girl was built from the ground up. Theater lovers will swoon.
Library Journal
Barbra Streisand: a name synonymous with musical talent and acting prowess. Yet before she achieved the status of cultural icon, Streisand was an insecure teenager who simply wanted her mother's hard-won approval. For his newest biography, Mann (Kate: The Woman Who Was Hepburn) focuses on this young Streisand and her initial journey to stardom. Tales of publicity stunts, long nights performing for raucous nightclub crowds, and relationships built and broken lead up to her landing the starring role in Funny Girl. Mann also reveals the complexities of creating and staging a musical. While Streisand did not contribute to this biography, many of her friends and colleagues did, and their contributions shed light on a driven young woman who did everything in her power to become a star. VERDICT A compelling, detailed look at the rise of the multitalented Streisand from 17-year-old unknown to chart-topping singer and Broadway star. Highly recommended for fans of Streisand, biographies, and theater.—Katie Lawrence, ChicagoPhilosophy
Kirkus Reviews
Hollywood chronicler Mann (How to Be a Movie Star: Elizabeth Taylor in Hollywood, 2010, etc.) divulges the blood, sweat and tears that propelled a diva's rise to stardom. Barbra Streisand is such a cultural institution that it sometimes seems as if she sprang fully grown from the head of the entertainment industry. Not so, argues the author in this surprisingly suspenseful and masterfully paced biography. Covering the fundamental years from 1960 to 1964, he shines the spotlight on an awkward yet ambitious teenage girl who aspired to play grand theatrical roles. To Streisand, singing came so easily that she didn't regard it as work, and she practically had to be pushed into appearing at Greenwich Village nightclubs. When a friend suggested that she approach singing a song as if acting a part in a play, however, she made a creative breakthrough that led to appearances on TV talk shows, a Broadway role in I Can Get It for You Wholesale and a recording contract at Columbia Records. Streisand didn't accomplish this alone, and Mann appropriately gives credit to the agents, accompanists, directors and mentors who brought her idiosyncratic style to a generation hungry for new idols. He also delves into her paradoxical mixture of self-confidence and -doubt, disclosing that she privately felt insecure about her looks despite publicly flaunting an outlandish flair for fashion and a loopy sense of humor. Mann structures the book by seasons, further dividing these into a series of vignettes that read like scenes from a novel peopled with extraordinary characters. Even though we know the answers to most of the questions--Will our heroine win the coveted role of Fanny Brice in Funny Girl? Will she live happily ever after with her Prince Charming, Elliott Gould?--this book makes getting to them a treat.
Read More Show Less

Product Details

  • ISBN-13: 9780544104464
  • Publisher: Houghton Mifflin Harcourt
  • Publication date: 11/5/2013
  • Pages: 608
  • Sales rank: 377,034
  • Product dimensions: 5.30 (w) x 7.90 (h) x 1.80 (d)

Meet the Author

WILLIAM J. MANN is the author of Kate: The Woman Who Was Hepburn , which was named a New York Times Notable Book, as well as several other acclaimed works of fiction and nonfiction. He divides his time between Provincetown, Massachusetts, and New York City.

Read More Show Less

Read an Excerpt

Why Streisand Now?

Just five years after arriving in Manhattan as a seventeen-year-old kid without money or connections, Barbra Streisand was the top-selling female recording artist in America and the star of one of Broadway’s biggest hits. Twenty-two years old, her face graced the covers of Time and Life. That was only the beginning of a career that has marched its band and beat its drum for half a century, but everything Streisand has accomplished in that time can be traced right back to this first half decade of her professional life.
   The young Barbra was like nothing the world of entertainment had ever seen. So fresh, so fearless, so unself-conscious—so bursting with desire—that today, even the lady herself seems to cower when confronted with the memory of that young upstart. If Streisand has ever been afraid of anything, I suspect that it might be the burden of living up to that sexy, vulnerable, sensational younger self who gate-crashed her way to fame during the turbulent 1960s, defying old definitions of talent, beauty, and success, harnessing an extraordinary confluence of talent, hard work, and shrewd salesmanship. In these all-important formative years, Streisand first learned how to dazzle, how to connect, and how to get what she wanted.
   It was also during these years that she learned—in that less comfortable and far less controllable world offstage—how to love, be loved, and lose love. These were the years that the budding Brooklyn teenager named Barbara Streisand would become both a personality and a person, a time when she got her first inkling of how much the artistic affirmation she craved—and the fame that came with it—would cost.
   This book charts Barbra’s climb from her earliest days in Manhattan to her first major triumph, the Broadway musical Funny Girl. After that, her chronicle becomes a very different kind of story: a Cinderella tale after she’s secured prince and palace. (Or at least the palace; princes, for Barbra, weren’t so easy to come by.) My goal has been to understand this early, groundbreaking Barbra, the artist and the woman who, out of need and lack of nurture, transformed herself into a superstar the world loved or loathed, an ambivalence that seemed to mirror the feelings in her own head and heart. I’ve attempted to zoom in as closely as possible on this complicated young woman—not the constructed myth or icon—in order to document how this unlikely kid from Brooklyn turned herself, in just five years’ time, into the biggest star on the planet.
   Much of it, of course, was due to her astonishing talent, and to a voice that pianist Glenn Gould called “one of the natural wonders of the age.” Streisand came out of a time when talent still mattered, when the pursuit of greatness, not infamy, was rewarded—a world very different from ours, where Snooki and the Kardashians and drunken “real housewives” grab the lion’s share of media attention. Still, for all her gifts, Streisand wasn’t above merchandizing her fame, and during these first five years, she learned to do so expertly. She would cultivate an eccentric personality to go along with the mellifluous voice, knowing it would be the combination of the two that would keep audiences and interviewers coming back for more.
   Yet Streisand’s vaunted ambition remains very different from the lust for notoriety that drives so many of today’s celebrities. Barbra’s determination to reach the big time was never simply an engine to accumulate fans or headlines or even dollars. From the start, she made it clear that she did not wish “to be a star having to sign autographs or being recognized and all that.” Instead, there were much more human reasons. Barbra wanted to make it big so she could demonstrate she had talent and appeal to a father who had never known her, a mother who hadn’t seemed to care, and a world that had thought she was too different to succeed. No surprise, then, that being acknowledged as good would never be enough; Barbra had to be great. And as for paying her dues, she showed little patience: “It was right to the top,”  she declared early on, “or nowhere at all.”
   Of course, Streisand’s rise has been told before. To say something new and valuable, to put her career into fresh perspective, I have tried to re-create the vanished world of her beginnings. Given my subject’s refusal to speak with biographers, I knew I would need to uncover new, authoritative source materials on my own. Happily, I discovered that there were, in fact, several never-before-used collections that provided exactly the kind of detailed inside information I needed—material that, as I discovered, did not always jibe with the established canon of Streisand’s early years.
   I can’t say that I was surprised by this—the written historical record often serves as an important corrective to the faulty human memory—but I was nonetheless struck by how many oft-told tales and assumptions about Streisand’s career turned out to be false. The personal papers of Jerome Robbins, for example, revealed that, contrary to what has always been written, Ray Stark wasn’t opposed to Barbra’s casting in Funny Girl; rather, he was her most ardent champion right from the start. Claims made by Garson Kanin that he had to persuade Stark to hire Streisand were latter-day self-embellishments (something Kanin was very good at ) because the Robbins papers clearly show that Barbra was on the project months before Kanin came on board. Likewise, the papers of Bob Fosse finally flesh out that director’s rather shadowy involvement with the show. Streisand buffs might want to read my notes thoroughly, as I present evidence that debunks many of the famous myths about her career, such as the story of her being fired from a nightclub in Winnipeg.
   Also documented for the first time is the prodigious amount of backstage maneuvering and public-relations chicanery that propelled Streisand forward. Her ticket to the top was indisputably her voice, but her great good fortune was to choose a crackerjack team of managers, agents, and publicists who made sure that her voice got heard. This able corps of lieutenants, operating largely unseen and unsung, was led, almost from the start, by Marty Erlichman, second only to the lady herself in engineering her brilliant career. Erlichman understood that, contrary to conventional wisdom, Streisand’s very difference—her unusual looks, her Jewishness, her offbeat manner—could assist her rise, not hinder it. He was able to argue that she was so uniquely talented that her huge fame was simply fated; all they had needed to do to make Barbra a star was wait “for her talent to speak for itself.” As such, her celebrity wasn’t “artificially created,” Erlichman insisted, but something that simply “had to happen.” Such a platitude, of course, obscures all the press releases, publicity gimmicks, and backstage deals that he and his efficient band of foot soldiers waged on their client’s behalf, especially during these crucial first five years.
   Yet to acknowledge such clandestine efforts risks undercutting the image of a singularly talented star to whom the world has flocked instinctively and unbidden. Now, thanks to publicists and advocates finally sharing their accounts, another story emerges, and it is every bit as fascinating and compelling as the myths that have long been spun. Here is the chronicle of a girl—so green, so raw, such a diamond in the rough—carried along on a wave of masterful salesmanship to the attention of such influential figures in the world of theater and music as Arthur Laurents, Jule Styne, Harold Arlen, and Sammy Cahn, who then adopted her, anointed her, and presented her to the world. With such an entrance, Streisand’s acclaim was instant and overwhelming.
   None of that diminishes Barbra’s talent or star quality. If she hadn’t been as sensational as her handlers said she was, she would have crashed and burned like so many before her had done. Nor, significantly, should it minimize Streisand’s own role in making it all happen. Styne said she “carried her own spotlight.” Certainly no one knew better than Barbra what worked best for her, and she had little time for false modesty. In fact, Streisand’s very narcissism—a trait that has created a vocal minority of detractors—proved a key ingredient of her success, perhaps as essential as her ample talent and capable assistants. Greatness cannot be achieved, after all, without a corresponding belief in one’s own greatness. That single-minded egoism left some people resentful, however, and others simply perplexed. Rosie O’Donnell, a fervent Streisand devotee, once pressed Barbra on whether she, too, had had idols in her youth. There was a long pause, in which Streisand seemed to struggle with the very concept. “I don’t think so,” she said at last. Of course not: It had always been just her.
   For all of Streisand’s self-confidence, there was also the corresponding self-doubt. “That goes so deep,” she admitted—right back to those days in Brooklyn when her mother withheld praise and the girls at Erasmus Hall High School turned up their considerably smaller noses at her. As much as she’d been determined to make it, when success came, it still seemed strange to her. Seeing her name in lights was hard to accept. “Barbra Streisand doesn’t sound like a star,” she told a reporter in 1963.
   Since that time, she has made “Barbra Streisand” synonymous with stardom, becoming the bar by which others measure their success. But fifty years earlier, she’d had her own hurdles. There had been Jewish stars before her—Lauren Bacall, Joan Collins, Piper Laurie, Judy Holliday—but none who seemed to announce it quite as forcefully as Streisand did when she walked into a room or onto a stage. There had been stars who had looked different, stars who hadn’t fit conventional expectations of beauty or glamour, but none who had insisted they were beautiful—leading-lady material—as Streisand did. She was fortunate to emerge at a time when the old order was breaking down: Diahann Carroll and Chita Rivera were challenging the white-bread glamour handbook of Audrey Hepburn and Doris Day, and people such as Bill Cosby, Woody Allen, Lenny Bruce, Dick Gregory, and Joan Rivers were introducing new voices into the American conversation.
   Streisand’s times were, therefore, right for her—but she was also right for her times. Though the critics started out calling her ugly and strange, within five years she had transformed not only their opinion of her, but also their very concept of what was beautiful and what was talented.
   That was a lot to accomplish for a young woman barely out of her teens, especially one who had to be great and not merely good. Early on, Streisand learned she could only achieve her goals by taking charge herself; her first album, engineered and orchestrated by others, wasn’t nearly as masterful as her second, on which she exerted more control. That word “control,” however, had “negative implications,” she argued; Streisand preferred to say that she took “artistic responsibility.” Yet sometimes in her quest for the best, she seemed to overshoot and expect perfection, especially from herself. Part of the reason she didn’t have pierced ears, she explained to Oprah Winfrey, was because “each ear is a different length, so how could you possibly put a hole in exactly the same place on different ears?”
   But she has always worn this insistence on precision as a badge of pride. “I really don’t like being called a ‘perfectionist’ as if it’s a crime,” she has said. Certainly Arthur Laurents and Jerome Robbins, her earliest examples of auteurship, had been no shrinking violets when it came to taking control over their work. “What is so offensive about a woman doing the same thing?” Streisand has asked. Even her detractors concede she has a point on that score.
   Perhaps this accounts for Streisand’s recent prominence on the scene. Suddenly she’s everywhere: celebrated on Glee, collecting awards, invoked in pop-rap songs, top-lining a movie for the first time in sixteen years. I suspect that our renewed fondness, even adoration, of Streisand is evidence of a nostalgia for a time when striving for excellence was at least as important as making a buck, and when originality was prized over focus-grouped packaging. In the early 1960s, Streisand reset the cultural parameters when she walked onstage in Funny Girl and said “Hello, gorgeous” to herself in the mirror—a slender, unusual girl who wouldn’t compromise on appearance, performance, or integrity. Fifty years later, she still matters, and for all the same reasons.

All scenes and events described herein are based on primary sources: interviews, letters, production records, journals, and contemporary news and weather reports. Nothing has been created simply for dramatic sake. Anything within quotation marks comes from interviews or other sources; dialogue is used only when it originates directly from these sources. Attitudes, motivations, and feelings attributed to Streisand or others always come from descriptions given in interviews. Full citations are found in the notes.

Read More Show Less

Table of Contents

Why Streisand Now 1
1. Winter 1960 9
2. Spring 1960 37
3. Summer 1960 57
4. Fall 1960 83
5. Winter–Spring 1961 104
6. Summer 1961 133
7. Fall 1961 154
8. Winter 1962 177
9. Spring 1962 212
10. Summer 1962 244
11. Fall 1962 271
12. Winter 1963 295
13. Spring 1963 322
14. Summer 1963 346
15. Fall 1963 383
16. Winter 1964 431
17. Spring 1964 471
Acknowledgments 501
Notes 507
Index 549

Read More Show Less

Customer Reviews

Average Rating 4.5
( 46 )
Rating Distribution

5 Star

(32)

4 Star

(5)

3 Star

(5)

2 Star

(3)

1 Star

(1)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
See All Sort by: Showing 1 – 20 of 46 Customer Reviews
  • Anonymous

    Posted April 21, 2013

    Excellent Read

    I have read every "biography" of Barbra Streisand in print - and it seems most of those are included in the exhaustive notes quoted in this book. William J. Mann's work is enlightening and meticulous; the research alone is incredible. Unless Barbra herself decides to set "pen to paper" this may be the definitive diary of those early years. Thank you, Mr. Mann, for an incredible and delightful book.

    6 out of 6 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 28, 2012

    Good book

    I got the sample and it hooked me, once i got about half way through it drug a bit. But if you love Barbra you will love this

    6 out of 6 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted December 27, 2012

    I was left confused as why this author stopped this otherwise we

    I was left confused as why this author stopped this otherwise well written book just as Streisand broke out in Funny Girl. I was sometimes turned off by unnamed quotes...especially if they were negative. Ms. Streisand worked hard for what she has achieved. It always seems like sour grapes when someone puts her down. To the author's credit he mainly put down the facts of her achievements...which are many. I found that the book portrayed her as a human being with high goals. She, and this book, give us examples of how this was achieved. I enjoyed the book but still wonder why it was based on just a few years. 

    3 out of 4 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 30, 2012

    Very Negative

    The author obviously hates Barbra. He wrote everything from a very negative standpoint. I can't believe she is as self-absorbed as he made her out to be. His information came from previously written books and commentators. Why write a book about someone you can't stand.

    2 out of 3 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 15, 2013

    Is any one on i wanna chat

    Kayleigh •~•

    1 out of 9 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 24, 2013

    <>

    <>

    1 out of 9 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 18, 2014

    Recommended-a good read

    I haven't finished reading the entire book but if you are a Barbra fan you will enjoy reading this account of her early years. Well written and easy to read.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 10, 2014

    The Life of Alex Sanchez~4

    (Camron's pov) I work in the garage. Making sure the cars are always clean. I have to wash them and polish them everyday. I also do some work outside. I make sure the slave trading stand is clean and well kept. For some reason, most of the supervisor's like me. How do I know that? Because they don't nomally give other kids rides in their Ferraries or give, secretly, an extra meal." Have you finish polishing my car, you little rat", the Hawk said behind me." I'm almost done, sir.", I said." What did you just say?", he asked." I said 'I'm almost–!", I covered my mouth with my hands." Please forgive me, sir.", I said." I will not until...", he scrached his chin," until you beg me." I got down my hands and knees and put my head on the ground, saying," I beg you, sir. Forgive me." " I will forgive you on one condition. You must lick du bottom of my boots. I stepped in something extra special for you." " No! Please. Anything, but that, sir. I can't stand it.", I begged him." I don't care what you want. I said do it.", he answered harshly. He raised his boot so I could lick it. I saw a brown strick of horse poop on the bottom. I must have hesitated to long, because the Hawk pushed my head into the bottom of his boot. I shot back and touched my face. It had poop all over it." Now lick it!", he said chuckling. I closed my eyes and stuck my tougue out. I licked the bottom of his boot. I almost threw up." If you throw up, I'll make you eat it and then I'll make you lick the rest of du poop off my boot.", the Hawk said. I sallowed the poop. So the Hawk doesn't like me. So what! He doesn't like anyone. The Hawk kicked me away from his car and he hopped in. He turned the key and drove away. I decided to visit Alex. Usally, after a kid goes to the punishment room, he spends two days in the dungeon. He won't get any food or water during that time, he will be tied to the roof, so he's off the ground, and he will be whipped twice a day. When I got to the dungeon, a guard was standing outside." What can I do for you?", he asked." I'm here to see Alex Sanchez.", I said." I need to pat you down to make sure you're not taking him anything.", he said. He started to pat me down. He found a neclace my mom gave me before she died. He also found a bit of a bicuit I forgot I had in my pocket. I walked through the dungeon looking for Alex. I saw a boy and a girl who probably 5, being whipped. They were screaming and crying. I found Alex hanging, by his wrist's, from the roof. A big, shirtless, buff dude was beating him with brass knuckles. Alex was also shirtless. Most of the tortures in the punishment room require, shirt off. Even the girls do it." Excuse me!", I yelled at the big buff man. He turned and I saw Alex was crying. I probably would too. The buff guy gave Alex one punch before leaving. Alex looked horrible. He had burns all over him. Of course, the brass knuckles didn't help his face. He was slumped in the cornor with his hands hiding his face. When he saw me he said," I don't think I can stand it in here for two more days. They hurt me pretty bad." " I really wish I could help you. I just don't know how.", I said." Thats okay. Just keep yourself away from here." ••••••••••• i will use your characters. I have something planed. Next part at rapid fire series #1. ~ Chris.

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 30, 2014

    To guys

    Im a curvy mexican i have a six pack carmel colored skin (thats very soft) hazel green eyes long thuck dark brown hair i have nice soft tasty big thick lips i have a bunny nose (witch i hate but everyone thinks its cute) ive been told i have a bubble butt but idk :P i can sing play electric guitar and i can play drums P.S im single and my name is ariana go to bubble first result if u wanna chat

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 4, 2014

    Xander

    Y

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 13, 2014

    Kristen

    Josh?

    0 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2013

    Kya

    Hey

    0 out of 9 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 27, 2013

    Xander

    its gunna be ok hun

    0 out of 11 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 3, 2013

    Lightningstar

    *blinks confused* Hello Mai

    0 out of 6 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 8, 2013

    Barbra is pretty

    Hence the title.'m not a big fan of hers,

    0 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 28, 2013

    Mia

    I think it's the storm hitting in illinois. POST

    0 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 31, 2013

    Dric

    Hey i was sick

    0 out of 8 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 11, 2013

    Jacquline

    Hi^_^

    0 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 10, 2013

    CHRISTIAN HERE!

    Heyy

    0 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 9, 2013

    URGENT TO ALL

    Go to cup of joe res one i need help

    0 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
See All Sort by: Showing 1 – 20 of 46 Customer Reviews

If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)