15 Things You Might Not Know About Vermont

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1. Vermont's name comes from the French phrase “vert mont,” meaning “green mountain.” 

2. Vermont became the 14th state in 1791; it was the first admitted after the thirteen colonies.

3. Before that, it was its very own country. Founded in 1777, the Vermont Republic operated a post office, issued its own currency called Vermont coppers, and abolished slavery.

4. Vermont's the largest producer of maple syrup in the U.S., producing over 500,000 gallons a year.

5. Consider this the next time you eat pancakes: It takes about 40 years for a sugar maple to grow large enough—at least 10 inches in diameter—to tap. Then it takes some 40 gallons of sap to produce a single gallon of syrup. Don't waste a drop! 

6. Vermont's also America's No. 1 producer of marble and No. 2 producer of talc. They're the state's official rock and mineral, respectively.

7. With a population of just 7,787 in 2012, Montpelier is the smallest state capital in the U.S. In comparison, Juneau, the capital of Alaska and the sixth smallest state capital by population, has 32,167 people.

8. Some people joke that Vermont has more dairy cows than people. Not true! It has one cow for every 3.8 people, which is still the nation's highest ratio of cows to people.

9. U.S. Presidents Chester A. Arthur and Calvin Coolidge were both born in Vermont. The latter is the only president born on the Fourth of July.

10. The Von Trapp family that inspired The Sound of Music moved to Stowe, Vermont in 1942. Descendants are still running the family ski lodge—and, we hope, spontaneously bursting into song.

11. Lake Champlain, located primarily in Vermont with parts in New York and Quebec, isn't as big as the Great Lakes, but it does have its own monster—or so the legend goes. Champ is said to be friendly, 20 to 80 feet long, and have a head like either a snake or a dog. The most famous photo of him was taken back in 1977.

12. According to a 2013 Gallup poll, Vermont's the least religious state in the U.S. Only 22 percent of the respondents said they consider religion important and regularly attend religious services. On the flip side, Mississippi is the most religious state, with 61 percent of participants saying they attend services weekly or nearly every week.

13. It's also one of the most progressive states. It was the first to grant women partial voting rights (in 1880), abolish slavery (as a republic and a state), and legislate same-sex marriage.

14. One thing that's not legal in Vermont: billboard advertising. Vermont is one of four states to ban commercial billboards, the others being Maine, Hawaii, and Alaska.

15. Vermont has one telephone area code—and they're proud of it. You'll see 802 on t-shirts, bumper stickers, and even tattoos.

15 Uncensored Facts About Midnight Cowboy

Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
20th Century Fox Home Entertainment

On May 25, 1969, United Artists released the film Midnight Cowboy, starring Jon Voight (Texas transplant Joe Buck) and Dustin Hoffman (the sleazy Ratso Rizzo) as street hustlers in New York City. It was the first studio film to receive an X-rating (the studio refused to edit anything out), and it became the first X-rated movie to be nominated and win a Best Picture Oscar (A Clockwork Orange and Last Tango in Paris followed suit with X-rated nominations). Hoffman and Voight were also nominated for Oscars, and screenwriter Waldo Salt and director John Schlesinger ended up winning gold statuettes for the movie. After the movie became a success, the MPAA demoted its rating to an R.

Based on the novel by James Leo Herlihy, the controversial film managed to gross $44 million—about $200 million by today’s standards. The movie saved the careers of its actors, producers, and Salt, who had been blacklisted and fallen on hard times. It also produced a hit song, Harry Nilsson’s “Everybody’s Talkin’.” Here are 15 facts about the landmark film.

1. John Schlesinger was reluctant to hire Dustin Hoffman.

Like everybody else, the filmmakers associated Dustin Hoffman with Benjamin Braddock, the clean-cut twentysomething he played in The Graduate. “The truth was, I saw The Graduate as a setback, because I was determined not to be a star,” Hoffman told the Los Angeles Times. Hoffman was doing Off Broadway performances during the casting of Midnight Cowboy, so Schlesinger checked him out in a play. Hoffman frequented an automat with fellow thespians Gene Hackman and Robert Duvall; one night Hoffman showed up there with a scruffy beard, disheveled clothes, and a Bowery accent. Schlesinger said to Hoffman, “Why Dustin, you do fit right in,” and he got the part.

2. Mike Nichols tried to talk Dustin Hoffman out of doing the movie.

Dustin Hoffman appears on the set of the film 'Midnight Cowboy' in 1969 in the USA
Dustin Hoffman stars in Midnight Cowboy (1969).
Hulton Archive, Getty Images

Hot off the heels of Mike Nichols’ The Graduate, Hoffman could’ve kept his romantic lead image up, but instead he opted to take a supporting part in Midnight Cowboy. “Mike Nichols, in fact, called me up,” Hoffman told Peter Travers. “And he says, ‘Are you crazy?’ He says, ‘I made you a star. This is an ugly character. It’s a supporting part to Jon Voight.’ He says, ‘What are you doing? Why are you sabotaging?’” But Hoffman stuck to his guns and took the role. “I love the fact I was trying to remain a character actor and that was my desire,” he said.

3. Jon Voight was cast only after the original actor was fired.

Jon Voight auditioned for the role of Joe Buck and really wanted the part, but the producers chose Michael Sarrazin, whose major claim to fame is the 1969 Jane Fonda film They Shoot Horses, Don’t They? “Sometimes I would be offered a role and I would recommend somebody else—I was that kind of person,” Voight told Box Office Mojo. “Yet this one stopped me because the thing I was excited about for this piece wasn’t going to happen. I felt quite sick about it.”

Fortunately for Voight, the producers changed their minds when Sarrazin demanded more money. “It came back to looking at our screen tests back to back,” said Voight. “Apparently, Marion Dougherty, who was the casting director, was in the room and said, ‘Well, there’s no doubt who's the best actor.’ John Schlesinger said, ‘Who?’ And she said, ‘Jon Voight.’ Then, Dustin was called in to look at the tests and apparently he said, ‘When I look at my scene with Michael Sarrazin I look at myself—when I looked at my scene with Jon Voight, I look at Jon.’ That was a huge compliment. I think between these comments, that’s what tipped the balance and then John [Schlesinger] came forward, so I was very fortunate.”

4. Voight worked for scale.

Voight was so desperate to play Joe Buck that he worked for scale: “‘Tell them I'll do this part for nothing,’” Voight told The Telegraph. “They took me at my word, and they gave me minimum for Midnight Cowboy.” At the end of the shoot, they sent him a $14.73 bill for meals on the last day of filming.

5. Hoffman thought the movie would ruin his career.

The actor attended a preview of Midnight Cowboy and noticed “people walked out in droves.”

“Twenty minutes into that movie, Jon Voight has a gay sex scene in the balcony with a kid who was played by Bob Balaban, and people would get up at that point and just walk out of the theater,” Hoffman told Larry King. “We said, ‘We have big problems’ when we heard we got an X-rating and we thought this could end everybody’s career. As a matter of fact, I was talked into doing a movie I wished I hadn’t done, because they had me so frightened that I had buried myself and reversed whatever good The Graduate did.” Hoffman’s agent forced him to star with Mia Farrow in the romantic drama John and Mary to make him “look like a respectable person.”

6. Voight knew the film was destined to become a classic.

Voight and Schlesinger wrapped filming in Texas and Voight noticed how red the director’s face was. Voight thought Schlesinger was having a heart attack and asked him if he was okay. “He looked up at me and said, ‘What have we done? What will they think of us?’ After all, we had made a film about a dishwasher who lives in New York and f*cks a lot of women,” Voight told Esquire. “In the moment he’d finished it, he was shaking. All of a sudden, he saw it as banal and vulgar. He’s having an anxiety attack and I grabbed his shoulders to shake him out of it. I said, ‘John, we will live the rest of our artistic lives in the shadow of this great masterpiece.’ He said, ‘You think so?’ I said, ‘I’m absolutely sure of it.’ The only reason I said such an extravagant thing was because I wanted to get him out of it and nothing would take him out of it but that. But the statement turned out to be true.”

7. Voight and Hoffman were competitive with each other.

What made the chemistry between Hoffman and Voight work so well is they were constantly competing with one another. Hoffman became a movie star before Voight did, and that brought some jealousy to the set. “We were like Marvin Hagler and Sugar Ray Leonard, two fighters going at it,” Hoffman told the Los Angeles Times. “We knew the movie depended on the bond between us. All through shooting, we’d say to each other, out of the side of our mouths, like a fighter in a clinch, ‘Buddy, is that the best you can do?’”

8. Hoffman placed pebbles in his shoe to acquire Ratso’s limp.

“Why pebbles? It’s not like you’re playing a role on Broadway for six months where you’re so used to it, limping becomes second nature,” Hoffman told Vanity Fair. “The stone makes you limp, and you don’t have to think about it.”

9. Schlesinger came out during the movie’s production.

In the late 1960s, one's sexuality wasn't often discussed in the open. But the British director fell in love with Michael Childers, who worked as his assistant on the movie. “We were one of Hollywood’s first out couples,” Childers told Vanity Fair. “He took me everywhere. I felt a little bit uncomfortable at times, but John never did. He said, ‘F*ck ‘em.’”

“John was totally torn up, because part of him wanted to just embrace this, and another part of him was in terror,” the film’s producer, Jerome Hellman, said. “He had these fantasies that if he were openly gay on a film set, that if he tried to give the crew an order, they would turn on him. I said to him, ‘John, look, you’re the director. It’s your movie. I’m the producer, but I’m your partner. There’s nobody who can challenge your authority. If someone speaks out of line to you, they’ll be fired the same minute.’”

10. The famous “I’m Walkin’ Here” line was improvised.

The scene in which Joe and Ratso attempt to walk across the street and almost get hit by a cab was filmed guerilla-style, with a camera in a van across the street. “It was a difficult scene, logistically, because those were real pedestrians and there was real traffic, and Schlesinger wanted to do it in one shot—he didn’t want to cut,” Hoffman explained. “He wanted us to walk, like, a half a block, and the first times we did it the signal turned red. Schlesinger was getting very upset. He came rushing out of the van, saying, ‘Oh, oh, you’ve got to keep walking.’ ‘We can’t, man. There’s f*cking traffic.’ ‘Well, you’ve got to time it.’”

They figured out how to properly time the walk but then almost got run over by a cab. “I guess the brain works so quickly, it said, in a split of a second, ‘Don’t go out of character,’” Hoffman said. “So I said, ‘I’m walking here,’ meaning, ‘We’re shooting a scene here, and this is the first time we ever got it right, and you have f*cked us up.’ Schlesinger started laughing. He clapped his hands and said, ‘We must have that, we must have that,’ and re-did it two or three times, because he loved it.”

11. Hoffman threw up on set while trying to cough.

Talk about Method: Ratso has a deadly cough (consumption), and in a particular scene Hoffman got sick in real life. “Because I was so nervous that I was going to come across fraudulent and not have the right cough, I tried to do the cough as realistically as I could,” Hoffman told Vanity Fair. “Each time, I tried to do it more realistically until, finally, I did it so realistically I threw up all over Jon. My lunch came up. All over his cowboy boots. Jon looked down. He said, ‘Man, why’d you do that?’ He thought I did it on purpose.”

12. Schlesinger didn’t think anybody would make the movie today.

In 1994, the director found himself at a dinner party with a studio executive. “I said, ‘If I brought you a story about this dishwasher from Texas who goes to New York dressed as a cowboy to fulfill his fantasy of living off rich women, doesn’t, is desperate, meets a crippled consumptive who later pisses his pants and dies on a bus, would you—’ and he said, ‘I’d show you the door,’” Vanity Fair reported in 2000.

13. Me And Earl And The Dying Girl pays tribute to Midnight Cowboy.

Alfonso Gomez-Rejon's 2015 Sundance hit Me and Earl and the Dying Girl features two friends who turn The Criterion Collection movies into film school comedies. One of those films is Midnight Cowboy, renamed as 2:48 p.m. Cowboy. In the film, Greg (Thomas Mann) and Earl (RJ Cyler) portray Ratso and Buck, respectively.

Midnight Cowboy became my favorite movie,” Cyler said in a featurette on Greg and Earl’s films. “Now I can’t stop watching it. I’m addicted to it. I’ll be in my trailer. ‘RJ, whatcha doing?’ ‘Watching Midnight Cowboy with some ramen noodles right now.’ It’s just so quirky the way the parody was made, and not just because I got to wear a beautiful cowboy hat.”

14. There’s a speakeasy bar in Austin named after the film.

Midnight Cowboy the bar is located inside a former oriental massage parlor that was busted by the FBI, hence the seedy name. It has a red light—not a sign—outside to mark the place. In order to drink there, you need to make a reservation online, and when you get there, you buzz the box and give the password “Harry Craddock.” They have rules, though: no talking on your cell phone inside the bar, and no “excessive displays of public affection.”

15. A Chicago theater turned it into a stage production.

Chicago’s Lifeline Theatre puts on a lot of literary adaptations, and in 2016 they presented a stage version of Midnight Cowboy, based on the book.

Updated for 2019.

9 Original Star Wars Reviews

Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

A long time ago (42 years, to be exact) in a galaxy just like this one, George Lucas was about to make cinematic history—whether he knew it or not. 

On May 25, 1977, moviegoers got their first glimpse of Star Wars, Lucas’s long-simmering space opera that would help define the concept of the Hollywood “blockbuster.” While we're still talking about the film today, and its many sequels and spinoffs, not every film critic would have guessed just how ingrained into the pop culture fabric Star Wars would become. While it charmed plenty of critics, some of the movie’s original reviews were less than glowing. Here are a few of our favorites (the good, the bad, and the Wookiee).

  1. "Star Wars is a fairy tale, a fantasy, a legend, finding its roots in some of our most popular fictions. The golden robot, lion-faced space pilot, and insecure little computer on wheels must have been suggested by the Tin Man, the Cowardly Lion, and the Scarecrow in The Wizard of Oz. The journey from one end of the galaxy to another is out of countless thousands of space operas. The hardware is from Flash Gordon out of 2001: A Space Odyssey, the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. Star Wars taps the pulp fantasies buried in our memories, and because it's done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we'd abandoned when we read our last copy of Amazing Stories."
    —Roger Ebert, Chicago Sun-Times
  2. Star Wars is not a great movie in that it describes the human condition. It simply is a fun picture that will appeal to those who enjoy Buck Rogers-style adventures. What places it a sizable cut about the routine is its spectacular visual effects, the best since Stanley Kubrick’s 2001Star Wars is a battle between good and evil. The bad guys (led by Peter Cushing and an assistant who looks like a black vinyl-coated frog) control the universe with their dreaded Death Star."
    —Gene Siskel, Chicago Tribune
  3. "Star Wars is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset. It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus. An hour into it, children say that they’re ready to see it again; that’s because it’s an assemblage of spare parts—it has no emotional grip. “Star Wars” may be the only movie in which the first time around the surprises are reassuring…. It’s an epic without a dream. But it’s probably the absence of wonder that accounts for the film’s special, huge success. The excitement of those who call it the film of the year goes way past nostalgia to the feeling that now is the time to return to childhood."
    —Pauline Kael, The New Yorker
  4. "The only way that Star Wars could have been interesting was through its visual imagination and special effects. Both are unexceptional ... I kept looking for an 'edge,' to peer around the corny, solemn comic-book strophes; he was facing them frontally and full. This picture was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded."
    —Stanley Kauffmann, The New Republic
  5. "There’s something depressing about seeing all these impressive cinematic gifts and all this extraordinary technological skills lavished on such puerile materials. Perhaps more important is what this seems to accomplish: the canonization of comic book culture which in turn becomes the triumph of the standardized, the simplistic, mass-produced commercial artifacts of our time. It’s the triumph of camp—that sentiment which takes delight in the awful simply because it’s awful. We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things.”
    —Joy Gould Boyum, The Wall Street Journal
  6. "Star Wars … is the most elaborate, most expensive, most beautiful movie serial ever made. It’s both an apotheosis of Flash Gordon serials and a witty critique that makes associations with a variety of literature that is nothing if not eclectic: Quo Vadis?, Buck Rogers, Ivanhoe, Superman, The Wizard of Oz, The Gospel According to St. Matthew, the legend of King Arthur and the knights of the Round Table … The way definitely not to approach Star Wars, though, is to expect a film of cosmic implications or to footnote it with so many references that one anticipates it as if it were a literary duty. It’s fun and funny.”
    —Vincent Canby, The New York Times
  7. "Viewed dispassionately—and of course that’s desperately difficult at this point in time—Star Wars is not an improvement on Mr Lucas’ previous work, except in box-office terms. It isn’t the best film of the year, it isn’t the best science fiction ever to be translated to the screen, it isn’t a number of other things either that sweating critics have tried to turn it into when faced with finding some plausible explanation for its huge and slightly sinister success considering a contracting market. But it is, on the other hand, enormous and exhilarating fun for those who are prepared to settle down in their seats and let it all wash over them.”
    —Derek Malcolm, The Guardian
  8. "Strip Star Wars of its often striking images and its high-falutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a ‘future’ cast to them. Human beings, anthropoids, or robots, you could probably find them all, more or less like that, in downtown Los Angeles today. Certainly the mentality and values of the movie can be duplicated in third-rate non-science fiction of any place or period. O dull new world!”
    —John Simon, New York Magazine
  9. "Star Wars is somewhat grounded by a malfunctioning script and hopelessly infantile dialogue, but from a technical standpoint, it is an absolutely breathtaking achievement. The special effects experts who put Lucas' far-out fantasies on film—everything from a gigantic galactic war machine to a stunningly spectacular World War II imitation dogfight—are Oscar-worthy wizards of the first order. And, for his own part, Lucas displays an incredibly fertile imagination—an almost Fellini-like fascination with bizarre creatures.”
    —Kathleen Carroll, New York Daily News

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