While there are countless poses couples choose for their engagement shoots, the gender roles in the photos are normally pretty well-defined and somewhat exaggerated.
Engaged couple Marian and Elliot, along with photographer Malia Moss, decided to change this by reversing and playing with the stereotypes. They found various typical poses from other couples and photographers and then recreated them with their own flair.
[W]e started talking about doing spoofs of these photos – some gender-swapped (How would Elliot look with his leg cocked while kissing me?), others just extreme takes on traditional photos (What if, instead of leading me gently down a grassy meadow path, Elliot was snapped dragging my body into the woods?).
Elliot and I started a Google doc for fun, highlighting our most ridiculous ideas. When my dear friend, Malia, saw the list, she insisted on taking the photos…. So as our wedding gift, Malia followed us around San Francisco while we acted like idiots and Elliot posed as a traditional blushing bride. I don’t think anyone has ever had more fun…
Julia Moskin outed food blogger Josh Friedland as the writer of the foul-mouthed parody account that, in a moment we will probably become increasingly embarrassed by over the course of the next decade, won a James Beard Award in 2011. Following the big reveal, @ruthbourdain promptly became a yawn-inducing stream of self-promotional tweets about Friedland’s media appearances.
11. Getting hacked was so trendy this year that Chipotle faked its own twitter meltdown.
I was introduced to Roland Barthes’ A Lover’s Discourse by a good friend I was sleeping with. We’d just had brunch and sex when he told me, “Read it.” I found his edition of the book on his bedside table. The yellowing pages were soft against my fingers as his own traced figures on my skin. “It’s right up your alley.”
“Why’s that?” I said.
“You’re like the book.” He planted kisses down my spine with each word. “Intelligent. Gorgeous. Romantic…”
After another orgasm, I got a copy that very afternoon.
We weren’t, nor would we ever be, “boyfriends.” He was in a long-term open relationship (now marriage) and I was living in New York for just a few months. So I didn’t expect much. But his warm brown eyes were engaging. We’d walk around Manhattan and talk about books. We’d go out to dinner and talk about writing. And we’d kiss and turn snowfall into rain.
We weren’t sure what to call ourselves. He was older and established – my mentor, in a sense. So we played with the term “lover.” How French, I thought. I could do French. But for Barthes, an actual gay Frenchman, being a lover was a different ordeal.
Barthes wrote A Lover’s Discourse in 1977 as a collection of notes on amorous language. “Figures,” he calls them, gestures of the lover at work. He says his goal is to present scenes of language wherein the lover might recognize himself. The whole thing reads like a dictionary of a lover’s desire, an exercise in defining every move made, thought shared, word said. Or unsaid.
“Waiting,” for example, Barthes describes as “the tumult of anxiety provoked by waiting for the loved being, subject to trivial delays (rendezvous, letters, telephone calls, returns).” He talks about waiting by the phone for his loved one to call. He dare not attempt to find him or call him lest he miss him. Barthes reports how his feelings ricochet between dread and anger and sadness, all while seated by the telephone. (Imagine if he had iMessage.)
“Am I in love?” he writes. “Yes, since I am waiting. The other never waits. Sometimes I want to play the part of the one who doesn’t wait; I try to busy myself elsewhere, to arrive late; but I always lose at this game: whatever I do, I find myself there, with nothing to do, punctual, even ahead of time. The lover’s fatal identity is precisely: I am the one who waits.”
Barthes uses words to make a lucid mirror out of Discourse. But it was only two years later, when I looked into it again, that I recognized myself. This happened, predictably, when I found myself a “boyfriend.”
We began using the word when we were having real estate problems in New York. I needed to move out of an apartment I couldn’t afford and his landlord refused to renew his lease. After he texted me with this news, I called him.
“I think we can do it,” he said. I could hear his crooked smile through the phone.
Between breathy laughs, I said, “I know we’ve only just met.”
We’d already gone on four dates within nine days, so the intimate act of telephoning was permissible, among other suggestions. “We could live together.”
The fact I could sit in silence with him, gaze into his steely blue eyes for hours, I willingly mistook for comfort. We’d walk around Brooklyn and stare at the pavement. We’d go out to dinner and chew on our food. But we’d kiss and turn the rain into steam.
He was beautiful and said the same of me. He’d text me good night and good morning. He was my age and single. These things, I decided, were good enough. And thus, I became the lover at work.
Not managing to name the specialty of his desire for the loved being, the amorous subject falls back on this rather stupid word: adorable!
Via Roland Barthes, A Lover’s Discourse
During the Gay Pride parade in New York, I got belligerently drunk. He had to take me home to his place in Williamsburg when it was still light out. I accidentally left my bag at a bar in the West Village. In the bag were a flask once filled with vodka and the Ray-Bans he lent me. I wore them at the parade, but they weren’t in my bag when I woke up in his bedroom that evening, close to midnight. I didn’t mention this loss to him when I found him sleeping on the couch in the living room.
“What’re you doing out here?” My tongue was still catching up to my thoughts.
“You’re still drunk.” He smiled. “I need to give you some space.”
In the amber glow of the streetlights outside, his handsomeness was made princely. I said, “You went back to the bar for my bag?”
“Of course.” He turned away from me on the couch, tightening his hold on a pillow.
But I pulled him into his twin bed and wrapped my sunburnt arms around him. I thought about how lucky I was, to be here with him, in this home leased for only a little while longer, but with him nonetheless. I kissed the nape of his neck and said, “Thank you.”
Whenever anyone asked what made me want to be in a relationship with him, I’d often cite this story. Selfless, I called him. We didn’t talk about much else other than work and the weather, but he was sweet, kind, adorable – capable of loving and being loved. The nights after dinner on his couch watching Netflix with my head on his shoulder outweighed everything else. This was the honeymoon period I’d heard about.
But, of course, as all moons do, it waned.
fête / festivity
The amorous subject experiences every meeting with the loved being as a festival.
Via Roland Barthes, A Lover’s Discourse
We would see each other almost every day, at first. We had drinks two days after our first date. He spent the night at my place three days after that. He’d meet me at the park for lunch and soon invited me to meet his friends. I’ve always had the habit of marking down these special days in my calendar. In the beginning, these days were wonderfully cramped into short weeks, but it wasn’t long until I began to measure my life in the days I didn’t see him.
He grew distant, for whatever reason. We saw each other less. His texts became less frequent, less sprinkled with emojis – which everyone knows is an infallible barometer of intimacy. And we used to call each other on video just to watch movies together. I’d point my phone at Clueless on the television and hear how he’d memorized the lines.
Then it became different. Then came weeks of radio silence. I could only count on seeing him on our monthly dates on the 15th, our month-aversary. But even then I’d have to wait for him, for his texts to tell me when and where to be. And whenever I did see him, the festivity I felt was more of a gratitude than sheer joy. Thank you, I wanted to tell him, thank you for picking me tonight. But after the dinner, after the gazing, after the toe-curling under the sheets, I was made to wait again – the subject subjected.
I decided to re-read A Lover’s Discourse. My copy’s pages were beginning to soften and yellow. In it, I found my notes naive, if not foolish; wide-eyed, if not provincial. And if Barthes’ work was once incandescent, now it was searing. His words were once warnings, cautionary tales to be heeded. But now the book, for better or worse, was our shared diary.
Still, I lied to myself. I gave my boyfriend excuses in the weeks between, blaming his own rendezvous and returns. And he was adorable; no one else could promise such pleasure. These were just growing pains, I reasoned. Our relationship was going through puberty, and every time we met, my voice would crack.
The figure refers not to the declaration of love, to the avowal, but to the repeated utterance of the love cry.
Via Roland Barthes, A Lover’s Discourse
On our first date, he took me to the carousel at the Brooklyn Bridge Park. He paid for our two tickets and tossed me the penny he got back. I tried to catch the change, but failed. It spun in circles on the cement, then rolled toward his foot. He stepped on it and picked it up. I told him he should have checked first, to see if it was lucky or not.
He put the change in my shirt pocket and pressed a hand to my chest. “Make your own luck.”
Then the lease ran out. I landed an apartment with friends in Harlem and he was moving to Crown Heights. We were on his Williamsburg rooftop for the last time when I thought I felt the breeze pick up. I held his face in my hands and ran a thumb across his manicured stubble. His hands were on my waist and I inflated my chest against his.
“I love you.” I felt him tense. I added the next line I’d practiced: “You don’t have to say it back. I just wanted you to know.”
“I’m not a good boyfriend,” he said. “Just wait. Let me catch up.” This was one of his many promises.
Time and again, he’d promised to communicate more openly, to be more forthright with his emotions, to just treat me like his friend. But I never once felt him work on these vows. I felt us going in circles where nothing was wrong and nothing was right.
In cabs, in bed, outside parties, it was the same conversation: how I felt like an accessory of convenience in his life, to be used only when he needed help moving furniture or having an orgasm. We weren’t us anymore, as much of an us as we ever were. He’d left the job of making our own luck to me. He was not the lover at work.
At last, after months of waiting, he explained that whenever he’s in a relationship, he wants to be single again. And when he’s single, he wants to be in a relationship. I congratulated him on this novel feeling.
“Are you dating someone else?” I said. He paused, tightened my duvet around himself. “You’re not lying to me in my bed.”
“I’m not dating anyone,” he said. The next morning, we woke up with our backs turned to each other.
On the 15th of some month, we broke up at the waterfront of Brooklyn Bridge Park, near the carousel and the horse he rode in on. Some paces away, a couple taking their wedding photos was standing in the water, the Manhattan skyline as their backdrop. I silently wished them luck; I’d just found out fidelity is too much to ask for nowadays.
“I love you,” I said, “but I can’t keep waiting for you.”
A mandarin fell in love with a courtesan. “I shall be yours,” she told him, “when you have spent a hundred nights waiting for me, sitting on a stool, in my garden, beneath my window.” But on the ninety-ninth night, the mandarin stood up, put his stool under his arm, and went away.
Via Roland Barthes, A Lover’s Discourse
When I began to feel my relationship crumble, I picked up my copy of A Lover’s Discourse, fiercely notated, aggressively dog-eared, and loved. In both, I saw the lover at work. But it’s the “lover” – singular, alone – at work by himself. The loved one, the other, is oblivious to this. He is passive while the lover becomes active in his waiting. He begins to feel himself waiting. Calling it hoping, calling it pretending.
The title of the book can be misleading. Barthes was not writing about love, at least not in its healthiest sense, but about desire. It’s a romantic work, sure, wildly emotional and recklessly hopeful – very much up my alley. But it makes no pretenses about deconstructing an unrequited ideal. As Barthes discloses on the very first page of the book, to see oneself in these scenes of language is to be reminded of the lover’s extreme state of solitude.
Today, Barthes’ figures now come with sharp pangs of recognition. It’s a comfort in disguise. Barthes, eager and tormented next to his telephone, seems to say, “You are not alone in your aloneness.” It’s as singular and unique a work as it is unrequited and one-sided; that is to say, devastatingly so.
As I flip through the beautiful, bleeding pages now, I’m made to conclude that, by Barthes’ standards, I can’t do French. I don’t want a lover, for the time being at least. I just want a good friend I’m sleeping with.
I have an incredible amount of respect for anyone who decides to become a high school teacherbecause I can’t imagine anything more daunting than being tasked with getting teenagers to genuinely care about anything on a daily basis.
This is especially true for teachers who are forced to deal with seniors entering the home stretch of their high school careers, especially when most of them have already been accepted to colleges and have no real incentives to try any harder than is absolutely necessary.
With the exception of the kids who care way too much about becoming valedictorian, the last few months of high school can be an absolutely torturous time for the students who have already checked out mentally, which is why it’s extremely important to figure out a way to stay occupied until graduation.
In my opinion, the best use of this time is to plan a senior prank.
If you weren’t a star athlete or stellar student, there’s no better way to leave a legacy than coming up with some sort of stunt that people will talk about for years after your graduate.
No matter how many wedding blogs you can read and hours you can spend scrolling up and down Pinterest boards for ideas that’ll up your wedding game, you may still find yourself making a handful of costly mistakes.
Whether it’s spending too much money on things you don’t really need or convincing yourself you can plan your entire wedding yourself (while also working full-time), there will be a list of things you can and will do wrong before your wedding.
To push away panic and anxiety, here are the confessions from eight top wedding planners about the things they’ve noticed that most brides do wrong before their weddings:
1. Thinking They Can DIY Their Whole Wedding
The number one thing I see brides do is think they can do everything themselves. Planning a wedding is like having an additional 40-hour a week job. It can be difficult to get every little project and idea done. Be realistic with your timing.
Brides forget to put final payments or tips in sealed, labeled envelopes for vendors. Wedding planners would much rather have these to hand out than tracking down the couple or parents at the end of the night when the caterer needs to be paid. This allows everyone to have a good time and not have to worry about writing checks or going through emails to find invoices at the wedding.
No bride should ever leave the house on her wedding day without an emergency kit of bobby pins, mascara, aspirin and mints. Or toasting flutes, comfortable shoes and, of course, their marriage license.
One of the things that brides do wrong before the wedding is overspend. I have seen so many of my clients’ budget double and sometimes triple as the planning process proceeds. Although brides want the day of their dreams, they need to remember they do have to live afterward. One day is not worth going into debt. Be reasonable and realistic with your budget and planning needs.
Hiring their planner last or nearly last is easily the number one thing many, perhaps most, couples do wrong before their wedding.
Of course, a planner will still be able to help couples avoid logistical issues and offer etiquette and practical advice no matter when they are hired, but there will be limited cost savings once all or most major professional contracts have been signed.
A planner understands how all the parts of the wedding ceremony and celebration work together from vision to results. To achieve what the couple is ultimately envisioning for their celebration, all the individual pieces will impact each other. Some will be in major ways, and others more subtly.
A professional planner accounts for all these details, drawing on their training and experiences. So the earlier a planner is hired, the better for the couples’ budget, aesthetic and overall experience along their engagement journey and on their wedding day.
Failure to have a backup planin case a change is needed due to an act of God (tornado, rain, severe snow storm or severe hot temperatures, etc). Many brides assume their wedding day will be picture-perfect, not taking into consideration that windy conditions at an outdoor event can wreak havoc with the ceremony and reception. Murphy’s Law does exist.
Your wedding day is not the day to figure out if you or your sister know how to attach fake lashes or do a waterfall braid with loose curls. So, leave the primping to the pros. This will give you time to relax and enjoy the day with yourbridalparty stress-free.
After the von Trapps fled Austria in 1938, their home was taken over by Heinrich Himmler, one of the key players of the Nazi party. Adolf Hitler personally visited Himmler there several times.
After fleeing Austria, the family bought a farm amid the mountains of Stowe, Vermont in 1942. By 1950 they had opened the Trapp Family Lodge, a 27-room structure. It was gutted by fire in 1980 but replaced with a 96-room resort. Today it’s overseen by Maria and Georg’s tenth and youngest child, Johannes, now 74 and his son Sam, 41.
The big-screen version of The Sound of Music, starring Julie Andrews, was based on the real-life Maria’s 1949 book, The Story of the Trapp Family Singers, but there were a few alterations and omissions.
2. Facts To Impress Your Friends
1. Maria came to the von Trapp family in 1926 as a tutor for one of the children who was recovering from scarlet fever, not as governess to all the kids.
2. Maria and Georg married in 1927, 11 years before the family left Austria, not right before the Nazi takeover of Austria.
3. Maria and Georg von Trapp’s love story wasn’t quite as romantic as portrayed on the big screen. In her autobiography, she admitted that it was the children she fell in love with at first sight. “I really and truly was not in love. I liked him but didn’t love him. However, I loved the children, so in a way I really married the children… . [B]y and by I learned to love him more than I have ever loved before or after.”
4. There were 10, not 7 von Trapp children.
5. The names, ages, and sexes of the children were changed.
6. The family was already musically inclined before Maria arrived, but she did teach them to sing madrigals.
7. Georg wasn’t as harsh and cold-blooded as he’s portrayed in the film. He was described as being a gentle, warmhearted parent who enjoyed musical activities with his family.
8. The family did not secretly escape over the Alps in Switzerland, carrying their suitcases and musical instruments. “We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing,” daughter Maria said in a 2003 interview with Opera News.
9. The family left Austria for Italy (not Switzerland) in June 1938. That fall, they arrived in New York under six month visitors’ visas and began a concert tour in Pennsylvania. In 1944, several of the von Trapps applied for U.S. citizenship at the U.S. District Court in Burlington, Vermont.
10. Maria died in 1987 and is buried in the family cemetery at the Trapp Family Lodge. Her husband Georg, who died lung cancer in 1947, is also buried in the family cemetery.
In the film Maria’s wedding train was 14 feet long!
When setting up for filming the Captain and Maria’s wedding scene, there was nobody at the altar to wed them when they reached the top of the stairs. Someone had forgotten to summon the actor playing the bishop. According to Julie Andrews, the real bishop of Salzburg is seen in the movie.
4. Maria Von Trapp and her daughter Rosmarie can be seen in the background of this shot from the film
The movie is based on Maria Von Trapp’s 1949 memoir, “The Story of the Von Trapp Family Singers”. She also published another book, “Maria”, in 1972 and said that while she was able to attend the opening of the musical on Broadway, she did not have the same luck with the film premiere in 1965. She was able to convince 20th Century Fox to let her see a preview of the movie and expected an invitation to the premiere but “when I didn’t hear anything about it and no invitation arrived, I really humbled myself to go and ask the producer whether I would be allowed to come. He said he was very sorry, indeed, but there were no seats left” (p. 216).
During the filming of the opening shot of Julie Andrews taken from a helicopter, Julie Andrews relates that although she tried digging her heels into the ground and bracing herself, on every take she was knocked over by the powerful helicopter downdraft. After more than a dozen takes, she attempted to hand-signal to Robert Wise to have the helicopter make a wider pass, but the response she got was a thumbs-up – he was finally satisfied with the shot.
7. She had previously played another famous nanny, Mary Poppins
In 1963, Andrews began her work in the title role of Disney’s musical film Mary Poppins. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is “practically perfect in every way!” Andrews initially declined because of pregnancy, but Disney politely insisted, saying, “We’ll wait for you.”
Julie Andrews nearly turned down the role of Maria Von Trapp, fearing the character was too similar to her role in Mary Poppins (1964).
Mary Poppins became the biggest box-office draw in Disney history. Andrews won the 1964 Academy Award for Best Actress and the 1964 Golden Globe Award for Best Actress- Motion Picture Musical or Comedy for her performance. As a measure of “sweet revenge,” as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, “And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner”. Her thanks was due to her not being asked to play Eliza Doolittle in My Fair Lady, with the role going to Audrey Hepburn instead. Julie Andrews didn’t care because Hepburn was one of the actresses she beat to get her Academy Award.
– In 1962, Julie Andrews and Carol Burnett appeared in a special, Julie and Carol at Carnegie Hall (1962), and at the time, “The Sound of Music” was still running on Broadway. Ironically, in a sketch on this TV special, Julie and Carol did a spoof of the “The Sound of Music” in much the same way Burnett later spoofed movies on her own variety show The Carol Burnett Show (1967). At the time, Julie Andrews had no idea she would later star in the film version.
– The on-set chemistry between Julie and Christopher was sizzling, and both actors admit that there was a mutual admiration. “I was in awe of this gentleman,” Julie says.
– Marni Nixon, who played Sister Sophia, dubbed Audrey Hepburn’s vocals in My Fair Lady, a role made famous by Julie Andrews. The producers were wary of how Andrews would react but when she first met her she exclaimed, “Marni, I’m a fan of you!” which led to much relief!
Born: October 1, 1935 in Walton-on-Thames, Surrey, England
– She has been an author of children’s books, and in 2008 published an autobiography, Home: A Memoir of My Early Years
– She has won an Academy Award, a Golden Globe, a BAFTA, an Emmy Award and has been nominated for a Tony Award.
– After starring in The Sound of Music, Julie spent the next three decades on stage and screen, bringing many memorable roles to life. By the ’90s, however, a lifetime of singing had taken a toll on her vocal chords. In 1997, Julie had throat surgery, which left her famous voice permanently damaged…but her career was far from over.
When Maria is running through the courtyard to the Von Trapp house in “I Have Confidence”, she trips. This was an accident; however, director Robert Wise liked this so much that he kept it in the movie. He felt it added to the nervousness of the song and of the character.
– Christopher Plummer intensely disliked working on the film. He’s been known to refer to it as “The Sound of Mucus” or “S&M” and likened working with Julie Andrews to “being hit over the head with a big Valentine’s Day card, every day.” Nontheless, he and Andrews have remained close friends ever since.
– Very little was known or available to Christopher Plummer about the real Captain von Trapp so the actor took to the Salzburg mountains with an interpreter. There, they met with Georg’s nephew and asked him what the real man was like. The nephew told them that he was the most boring man he’d ever met.
– Christopher Plummer admitted that he ate and drank heavily during filming to drown out his unhappiness with making the picture, and found plenty of opportunities to do both in Austria. His costume eventually had to be refitted for his extra weight.
Born: December 13, 1929 in Toronto, Ontario, Canada
– Multiple Tony®- and Emmy®-winning actor Christopher Plummer has been called one of the greatest actors of all time.
– Christopher wrote candidly about his colorful life in the 2008 memoir In Spite of Myself.
– His daughter Amanda Plummer is in The Hunger Games: Catching Fire film.
– Christopher says he fell in love with Julie while she was performing My Fair Lady on Broadway. “I had a crush for forever,” he says. “I had to stay arm’s length-what am I talking about?-full length away from her. … It was a bit like an awful tease.”
– During the scene with Maria and the Captain at the gazebo, Julie Andrews couldn’t stop laughing due to a lighting device that was making, in her words, a “raspberry” every time she leaned in to kiss Plummer. After more than 20 takes, the scene was altered to silhouette the two and to hide Andrews’ giggles.
– She learned years after The Sound of Music that Patti Duke, Mia Farrow, Sharon Tate and Geraldine Chaplin had all auditioned for her role.
– Charmian Carr was 21 at the time and wrote in her autobiography that she was attracted to the 35 year old Christopher Plummer, who played her father. Plummer admitted that the feeling was mutual, but insists that it didn’t get beyond mere flirtation.
Born: December 27th, 1942 in Chicago, Illinois, USA
– While touring to promote The Sound of Music, Charmian met Jay Brent. They married and had two daughters. She continued acting for a while but ended her career in show business after deciding to stay home and raise her children. In 1991, Charmian and Jay divorced.
– Once her daughters grew up, Charmian started an interior design company and wrote two books about her experience playing Liesl: Forever Liesl and Letters to Liesl.
– She owns and operates an interior design firm, Charmian Carr Designs, in Encino, California. Her clients included Ernest Lehman, screenwriter for The Sound of Music; Michael Jackson, who hired her because he was a fan of the film; and other cast members from the film.
– Charmian Carr sang “16 Going On Seventeen” for the movie when she was nearly 22. Moreover, although Liesl and Rolf sing about how she is 16 and he is 17, Daniel Truhitte, who played Rolf, is ten months younger than ‘Charmian Carr’.
– The gazebo used for the “Sixteen Going on Seventeen” and “Something Good” scenes can still be visited in the Salzburg area, on “Sound of Music” tours. However, the public had to be excluded from the interior because film fans who were considerably older than “sixteen going on seventeen” were injuring themselves while trying to dance along the seats.
– He decided to become an actor at the age of 9, after watching Julie Andrews perform in My Fair Lady. Approximately four years later he would be working with her in The Sound of Music.
– Growth spurts, especially among the boys, were a challenge on the set. Nicholas Hammond, the actor who played Friedrich, grew 6 inches in six months.
– The last scene the actors shot-when the children are singing “The Sound of Music” for the baroness-was one of the most emotional. “We knew that, when they said cut, the movie was over for us,” Nicholas says.
Born: May 15th, 1950 in Washington D.C., Maryland, USA
– He has a degree in English Literature from Princeton.
– After The Sound of Music, Nicholas Hammond landed the starring role in the first TV version of Spider-Man. From there, he acted in several daytime TV and movie roles.
– In the mid 1980s, Nicholas visited to Australia and fell in love with the country. He now lives in Sydney, where he spends his time as an actor, screenwriter and director.
Julie Andrews sang “Supercalifragilisticexpialidocious” to the children in the cast to entertain them between shooting. Since Mary Poppins (1964) hadn’t yet been released, they just thought she’d made up the song for them. In the storm scene she taught the children how to sing it backwards which they can still do to this day.
– At the beginning of filming, Heather Menzies-Urich (Louisa) was about three inches taller than Nicholas Hammond (Friedrich). He had to wear heel lifts to make him look taller. By the end of the shoot, Nicolas Hammond had grown six inches (5’3” to 5’9”). He often filmed in no shoes and Charmian Carr had to stand on a box to make her taller. All of the Von Trapp children grew a lot during filming, so heel lifts and various camera tricks were used to keep their heights steady.
Born: December 3rd, 1949 in Toronto, Ontario, Canada
– She met her late husband, actor Robert Urich, doing a Libby’s Corned Beef Hash commercial. Laughs Menzies, “We always joked that if our relationship didn’t work out we could say that Libby’s made hash out of our lives.”
– They went on to raise three children and star in television shows and in plays together. Robert passed away in 2002, and today, Heather dedicates her time to the Robert Urich Foundation for Cancer Research and Patient Care.
– Since playing Louisa, Heather Menzies-Urich has starred in big film and stage roles like Hawaii and the Broadway play We Have Always Lived in the Castle. She also guest-starred in a number of television shows in the ’70s and ’80s, including Logan’s Run. In 1973, she tried to shake her squeaky-clean image by posing nude in Playboy magazine.
Kym Karath, the actress who played little Gretl, will never forget the day they filmed the rowboat scene. When the children toppled into the water with their governess, Kym was the only cast member who couldn’t swim. “I was scared to death,” she says.
Originally, director Robert Wise considered a stunt double, but Kym says he changed his mind. “Robert Wise liked things to be extremely authentic, so they asked if I would be a trooper, and I said yes,” she says.
Julie was assigned to catch Kym as she fell out of the boat, but that was easier said than done.
“I went over the back of the boat,” Julie says. “I’ve never done the breast stroke or the crawl or whatever it was so fast in my life.”
Kym went under for a moment and swallowed a lot of water, which she says she then vomited all over Heather Menzies (Louisa).
– The costume that Duane Chase (Kurt) wears at the party is called a Tracht, an authentic Austrian costume. The jacket he wears is called a Loden.
– Duane Chase’s (Kurt) high note in the “So Long, Farewell” number was actually sung by Darleen Carr (younger sister of Charmian Carr), as that note was beyond Chase’s range.
Born: December 12th, 1950 in Los Angeles, California, USA
– After The Sound of Music, he took up mountain climbing and snagged a few geology degrees.
– Duane Chase took on small parts after playing Kurt in The Sound of Music, but after graduating from high school, he decided to quit show business. He went on to earn a masters degree in geology and now designs computer software for geologists. He lives in Seattle with his wife, Petra.
– During the filming of The Sound of Music, she was obsessed with The Beatles and, along with Heather Menzies (Louisa), would drive the crew crazy singing Beatles songs. Cartwright will become a first-time grandmother early next year.
– Angela Cartwright was initially asked to wear a blonde wig to read for the role of Louisa. Ultimately, she was cast as a brown-haired Brigitta.
Born: September 9th, 1952 in Altrincham, Cheshire, England
– From 1965 to 1968, Angela Cartwright played Penny Robinson in the science-fiction TV hit Lost in Space. After leaving the show, Angela continued acting in television, commercials and feature films. During that time, she married and had two children.
– Angela also has become an accomplished writer. Her books include My Book: A Child’s First Journal, Mixed Emulsions: Altered Art for Photographic Imagery, In This House: A Collection of Altered Art Imagery and Collage Technique and In This Garden: Explorations in Mixed-Media Narrative. She’s passionate about photography, jewelry and clothing design.
The song “Edelweiss” was written for the musical and is little known in Austria. The song was the last that Oscar Hammerstein II wrote before his passing in 1960.
Christopher Plummer was not fond of the song “Edelweiss,” which he considered trite, and wrote a letter to screenwriter Ernest Lehman suggesting a new song should be written to replace it, but he was rebuffed.
– When Debbie Turner was 6 years, she tried out for the role of Gretl but ended up being cast as Marta.
– Growth spurts weren’t the only problem. Turner and Kym both lost their front teeth during filming.
Born: September 5th, 1956 in Pasadena, California, USA
– Debbie also studied interior design, and started her own floral design and event company, Debbie Turner Originals, near her home in Minneapolis, Minnesota.
– After making her moment in the spotlight, Debbie finished high school and became a professional skier. She met her husband, Rick Larson, at a ski resort and the two married in 1980. They have four daughters.
In the closing shot, when the family is climbing over the hills to safety, it is not really Kym Karath as Gretl on the shoulders of Captain von Trapp. In the DVD version, it is revealed that while in Austria, Kym Karath gained a lot of weight. This was one of the last shots filmed and so she was evidently a bit too heavy to be carried on Christopher Plummer’s back. Plummer requested a stunt double and that is who’s seen being carried on his back.