Family Zoo The Story Game Download

This report looks ahead to life in 2040, exploring potential changes to all the elements that make up a family. Then, using a classic futures methodology, the report presents four possible scenarios meant to serve as provocations of how technological innovation, social safety nets, and cultural reinvention could shape the future of families.

Our report documents how conservatives, with help from centrists and liberals, have promoted the supremacy of the married family to the detriment of historically marginalized people and progressive policy goals.

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Outside, I see my 15-year-old son and my 80-year-old mom walking down the street. This seemingly ordinary sight is actually anything but ordinary for our family. My mom lives in Southern California, and my son is usually much more interested in playing Fortnite than walking with his grandmother. But our family, like the rest of the world, is changing our behavior and adapting to self-quarantine.

Since coronavirus started spreading, life haschanged for all the members of our family. My older son is 20. I would like himto stay home but he resists. Instead, he has become our self-appointed errandperson. He runs to the grocery store or pharmacy to help decrease the exposurerisk for the high-risk family members.

These days, it seems all of the rules have changed. As parents, we are all trying to navigate the line between providing support, structure, and stability for our kids while remaining calm and flexible given our changing circumstances. We need to help keep our children safe physically while understanding and trying to accommodate their needs as teenagers to connect with their peers and maintain their sense of autonomy. We are balancing the health and well-being of not only our family members but our communities at large.

I first saw the movie The Sound of Music as a young child, probably in the late 1960s. I liked the singing, and Maria was so pretty and kind! As I grew older, more aware of world history, and saturated by viewing the movie at least once yearly, I was struck and annoyed by the somewhat sanitized story of the von Trapp family it told, as well as the bad 1960s hairdos and costumes. "It's not historically accurate!" I'd protest, a small archivist in the making. In the early 1970s I saw Maria von Trapp herself on Dinah Shore's television show, and boy, was she not like the Julie Andrews version of Maria! She didn't look like Julie, and she came across as a true force of nature. In thinking about the fictionalized movie version of Maria von Trapp as compared to this very real Maria von Trapp, I came to realize that the story of the von Trapp family was probably something closer to human, and therefore much more interesting, than the movie led me to believe.

Part of the story of the real von Trapp family can be found in the records of the National Archives. When they fled the Nazi regime in Austria, the von Trapps traveled to America. Their entry into the United States and their subsequent applications for citizenship are documented in the holdings of the National Archives and Records Administration.

The family lost most of its wealth through the worldwide depression when their bank failed in the early 1930s. Maria tightened belts all around by dismissing most of the servants and taking in boarders. It was around this time that they began considering making the family hobby of singing into a profession. Georg was reluctant for the family to perform in public, "but accepted it as God's will that they sing for others," daughter Eleonore said in a 1978 Washington Post interview. "It almost hurt him to have his family onstage, not from a snobbish view, but more from a protective one." As depicted in The Sound of Music, the family won first place in the Salzburg Music Festival in 1936 and became successful, singing Renaissance and Baroque music, madrigals, and folk songs all across Europe.

This record of aliens held for special inquiry, dated October 7, 1939, notes that the family was to clear up confusion about the von Trapps' status. (Records of the Immigration and Naturalization Service, RG 85)

In the early 1940s the family settled in Stowe, Vermont, where they bought a farm. They ran a music camp on the property when they were not on tour. In 1944, Maria and her stepdaughters Johanna, Martina, Maria, Hedwig, and Agathe applied for U.S. citizenship by filing declarations of intention at the U.S. District Court in Burlington, Vermont. Georg apparently never filed to become a citizen; Rupert and Werner were naturalized while serving in the U.S. armed forces during World War II; Rosmarie and Eleonore derived citizenship from their mother; and Johannes was born in the United States and was a citizen in his own right.

Georg died in 1947 and was buried in the family cemetery on the property. Those who had applied for citizenship achieved it in 1948. The Trapp Family Lodge (which is still operating today) opened to guests in 1950. While fame and success continued for the Trapp Family Singers, they decided to stop touring in 1955. The group consisted mostly of non-family members because many of the von Trapps wanted to pursue other endeavors, and only Maria's iron will had kept the group together for so long.

The von Trapps never saw much of the huge profits The Sound of Music made. Maria sold the film rights to German producers and inadvertently signed away her rights in the process. The resulting films, Die Trapp-Familie (1956), and a sequel, Die Trapp-Familie in Amerika (1958), were quite successful. The American rights were bought from the German producers. The family had very little input in either the play or the movie The Sound of Music. As a courtesy, the producers of the play listened to some of Maria's suggestions, but no substantive contributions were accepted.

How did the von Trapps feel about The Sound of Music? While Maria was grateful that there wasn't any extreme revision of the story she wrote in The Story of the Trapp Family Singers, and that she herself was represented fairly accurately (although Mary Martin and Julie Andrews "were too gentle-like girls out of Bryn Mawr," she told the Washington Post in 1978), she wasn't pleased with the portrayal of her husband. The children's reactions were variations on a theme: irritation about being represented as people who only sang lightweight music, the simplification of the story, and the alterations to Georg von Trapp's personality. As Johannes von Trapp said in a 1998 New York Times interview, "it's not what my family was about. . . . [We were] about good taste, culture, all these wonderful upper-class standards that people make fun of in movies like 'Titanic.' We're about environmental sensitivity, artistic sensitivity. 'Sound of Music' simplifies everything. I think perhaps reality is at the same time less glamorous but more interesting than the myth."

Examining the historical record is helpful in separating fact from fiction, particularly in a case like the von Trapp family and The Sound of Music. In researching this article, I read Maria von Trapp's books, contemporary newspaper articles, and original documents, all of which clarified the difference between the von Trapps' real experiences and fictionalized accounts. My impression of Maria from Dinah Shore's show was the tip of a tantalizing iceberg: the real lives of real people are always more interesting than stories.

While the von Trapps' story is one of the better known immigrant experiences documented in the records of the National Archives and Records Administration, the family experiences of many Americans may also be found in census, naturalization, court, and other records.

Readers looking for a first-hand account of the family's story should consult Maria von Trapp's The Story of the Trapp Family Singers (Philadelphia: Lippincott, 1949) and her autobiography Maria (Carol Stream, IL: Creation House, 1972).

Maria never intended to write anything of her life. However, a friend persistently pleaded with her not to allow her story to be forgotten by others. Though she denied she had any writing skill whatsoever, her friend was not to be put off and kept on asking her whenever they saw each other. Finally, one day, in desperation, Maria excused herself and went to her room for an hour to scribble a few pages about her life story, hoping to prove once and for all she was no writer. However, this displayed such natural writing talent that she reluctantly agreed to finish what she had started, and her jottings formed the basis of the first chapter of her memoirs.[citation needed] Her book, The Story of the Trapp Family Singers, was a best-seller.[1] The book was published in 1949 by J. B. Lippincott Company of Philadelphia, Pennsylvania.

The book describes the life of the von Trapp family, from their beginnings in Salzburg, Austria, to their adventures in America where they escaped from German-occupied Europe. The story reflects on family tragedies, victories, and the kindness of strangers who soon became friends to the young family.

They first performed in the Salzburg Festival in 1936, not 1938, as portrayed in the musical, and not as a ruse to give them more time to make their escape, as portrayed in the musical. The musical telescopes many events and a long time frame into fewer events and a very short space of time. By the time the family left Austria in real life in 1938, two more children had been born and a third was on the way. In the musical, only the original seven children are portrayed, and Maria and Georg have only been married for one month when they and the seven children leave Austria.

The children's names and ages are different in the musical and there is no exact equivalent for each child, although some of the children in the musical seem similar to the ones in the book. Liesl, the oldest daughter in the musical, is, for the most part, a fictional character, and certainly Rolf, the messenger boy with a romantic interest in Liesl, has no known equivalent in the family's real life. The younger children were probably at least partly inspired by the family's real children, but this does not necessarily imply any direct link between any particular fictional child and any particular actual child.[2] e24fc04721