Entertainment
Sam Shepard’s roots ran deepest in rural America
Sam Shepard, a Pulitzer Prize-winning playwright, depicted the struggles of American families and their connection to land. He passed away on July 27, 2017.
John J. Winters, Bridgewater State University
Sam Shepard
When Sam Shepard died on July 27, 2017, the world lost one of the greatest playwrights of the past half-century. He was an artist renowned for bravely plumbing his own life for material, spinning much of his own pain into theatrical gold. His best work revealed the hollowness behind the idea of the happy family and its corollary, the American dream. Subversive and funny, Shepard had the soul of a poet and an experimental streak that never faded.
The American family was, no doubt, Shepard’s great subject. His quintet of family plays that premiered between 1978 and 1985 – “Curse of the Starving Class,” the Pulitzer Prize-winning “Buried Child,” “Fool for Love,” “True West” (both nominated for Pulitzers) and “A Lie of the Mind” – form the foundation of Shepard’s lofty reputation.
While researching my recent biography of Shepard, I found that most critics and scholars focused on the playwright’s relationship with his father. Rightly so: Samuel Shepard Rogers suffered from alcoholism and his only son grew up bearing the brunt of his abuse. Shepard’s family plays turn on the collateral damage of the fathers.
Less frequently examined is the playwright’s fixation on the land, and the ways in which this plays out in his work. Both as a writer and in his personal outlook, Shepard drew deeply from the old trope that nature and innocence are intertwined. And according to critic Harold Bloom, Shepard saw doom in the “materialistic and technological obsessions of modern society.”
Throughout his work, Shepard decried so-called progress, especially the rampant development of open space. Whether it was the forced sale of a family farm (“Curse of the Starving Class”) or Native Americans being driven off their reservation (“Operation Sidewinder”), it all came to no good.
To Shepard, a relationship with the land was nothing short of existential. As the playwright told an interviewer in 1988:
“What’s most frightening to me right now is this estrangement from life. People and things are becoming more and more removed from the actual. We are becoming more and more removed from the earth to the point that people just don’t know themselves or each other or anything.”
Shepard arrived at this impulse naturally. When he was in elementary school, his family settled in a small house on Lemon Street in Bradbury, California. An orchard of 80 avocado trees attached to the house meant that Shepard – then known by his birth name, Steve Rogers – was kept busy irrigating and harvesting the crop. He also raised dogs and sheep, and when he had free time he worked the fields belonging to his neighbors. During high school, he was an eager member of the 4-H Club and Future Farmers of America, and spent his summers tending to the thoroughbreds at nearby Santa Anita Park.
In college, Shepard’s major wasn’t theater but education. As he once wrote to a friend, back then he wanted to become a “veterinarian with a flashy station wagon, and a flashy blond wife, raising German shepherds in some fancy suburb.” He never finished college nor became a vet. Instead, Shepard left home and made his way across the country to New York City and the East Village, where he would quickly transform himself into the brightest light of the nascent off-off-Broadway scene.
But even as his reputation grew, he never left his agricultural roots behind. In fact, one of Shepard’s early one-act plays was titled “4-H Club” (1965).
Other plays from the 1960s combine his old life with his new one. Rural scenes are full of characters who talk in the hip argot of the Village streets, characters caught in an absurdist situation go “fishing” off the edge of the stage, and Native Americans, by their very presence onstage in plays like 1970’s “Operation Sidewinder,” stake a claim to the land that’s been stolen from them.
With time, the playwright would more directly address the scourge of overdevelopment that he saw happening around him. It would become a running theme of sorts, as Shepard saw the nation growing and changing – but not for the better.
“One of the biggest tragedies about this country was moving from an agricultural society to an urban, industrial society. We’ve been wiped out,” he told Playboy in 1984.
Shepard’s characters embody this loss. In “Geography of a Horse Dreamer” (1974), one character is a gambler who can predict tomorrow’s winners at the racetrack, but loses that power once he’s physically forced from his usual haunts to a new, strange locale. In “Buried Child” (1979), the land holds the answer to the play’s central mystery: At play’s end, the fallow backyard gives up a baby from a shallow grave, shining a light on the incestuous relationship that has led to the ruination of this family – as if the purity of nature had been offended by a terrible transgression. And in Shepard’s late masterpiece, “Ages of the Moon,” two old friends finally find solace by communing with nature at a small, remote campsite.
Nowhere in Shepard’s oeuvre does land play a bigger role than in 1978’s “Curse of the Starving Class.” The Tate family’s farm stands between husband and wife: He wants to unload it to pay off his gambling and drinking debts; she wants to sell it and use the money to escape her marriage and take the children to Europe. The culminating scene features the husband, Weston, coming to his senses after sobering up and walking around his property. Reconnecting with his land, Weston turns his life around, “like peeling off a whole person.”
Shepard’s love of the country and its open spaces would mark all aspects of his career. Also a celebrated actor, he favored “rural” dramas, those set on farms, racetracks or some windswept piece of desert. In his screen debut, Shepard starred as the doomed farmer in Terrence Malick’s “Days of Heaven” (1978). In his screenplay for the cult classic film, “Paris, Texas,” (1984) Shepard mirrored the desolation of the South Texas desert in the soul of his protagonist, Travis, a man suffering from a malady that Shepard often said he himself felt: “lostness.”
Shepard felt most at home traversing what one western historian called this “strange land full of mystery.” He took pride in being a western writer.
“I was never interested in the mythological cowboy. I was interested in the real thing,” he once said.
“He would call me late in the night,” Patti Smith wrote in a loving tribute, “from somewhere on the road, a ghost town in Texas, a rest stop near Pittsburgh, or from Santa Fe, where he was parked in the desert, listening to the coyotes howling. But most often he would call from his place in Kentucky, on a cold, still night, when one could hear the stars breathing…”
She knew, better than anyone, that such places constituted Shepard’s emotional and physical territory. He adored the vastness of the plains, the green of loping pasturelands; he cherished his time running the highways and byways in his pickup, or sitting next to the campfire on a real-life cattle drive, and reveled in the grit of this country’s less-traveled corners.
Shepard loved America for its beauty, its danger and its promise, forever transforming her in our imaginations.
John J. Winters, Adjunct Professor of English, Bridgewater State University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Beverages
SHUT UP! Ocean Spray® Introduces Mean Girls x Zero Sugar Collaboration in Celebration of the Film’s 20th Anniversary
Teams up with Rajiv Surendra to Just Add Cran™ to Kevin G’s memorable rap and releases limited-edition pink packaging
BOSTON /PRNewswire/ — Today, Ocean Spray Cranberries, Inc., is announcing an exciting collaboration with Paramount Consumer Products to celebrate the 20th anniversary of the iconic film and pop-culture phenomenon Mean Girls with the launch of Mean Girls x Ocean Spray® Ocean Spray® Zero Sugar Cranberry and Mixed Berry Juice Drinks. Cranberry juice cocktail had a cameo in the original film – and it did have sugar, despite what Regina thought. But now 20 years later, just like the stars of the movie have evolved, Ocean Spray has too, with the introduction of Ocean Spray® Zero Sugar Juice Drinks to its product line up. It has zero sugar and no artificial sweeteners – just fierce flavor.
To celebrate, Ocean Spray teamed up with Rajiv Surendra, known for his iconic role as Kevin G and his infamous rap in Mean Girls, to reimagine it with zero sugars given. You can check out Rajiv’s bold, refreshed and a touch tart, Zero Sugars Given rap here.
“I’m grateful for fans’ continued love of the movie 20 years later and partnering with Ocean Spray to recreate the talent show rap was such a blast from the past,” said Rajiv Surendra. “Happy Mean Girls Day, everybody, and remember don’t ever let the haters stop you from doing your thang!”
Mean Girls x Ocean Spray Zero Sugar Juice Drink Cranberry and Mixed Berry flavors are available for a limited-time in-store and online nationwide at most major retailers including Walmart, Kroger and Publix for $3.65. Made with bold flavor from real fruit juice, 0 grams of sugar, and naturally sweetened with stevia, it serves as an excellent source of Vitamin C, with flavor as fresh as Surendra’s lyrics.
“Working with Rajiv and Paramount to launch our new limited-edition Mean Girls x Zero Sugar bottle has been an exciting experience,” said Trinh Le, VP of Next Generation Beverages and Omni-Channel Marketing at Ocean Spray®. “We pride ourselves in offering consumers a portfolio of choice and this partnership has been a fun and inventive way of not only spotlighting our Zero Sugar line but reminding consumers how far we’ve come in twenty years.”
Mean Girls x Ocean Spray® Ocean Spray® Zero Sugar Cranberry and Mixed Berry Juice Drinks
On October 3rd, Mean Girls Day, Ocean Spray will be providing free samples of Ocean Spray Zero Sugar Juice Drink with the limited-edition packaging around New York’s Union Square.
To learn more, visit us at OceanSpray.com and check out our socials on Instagram, X, TikTok, Pinterest, YouTube and Facebook.
ABOUT OCEAN SPRAY
In 1930, Ocean Spray was founded by three maverick farmers – bonded by bold cranberry love. Since then, we’ve grown into a vibrant global agricultural cooperative, built on the strength of roughly 700 family farmers in the United States, Canada, and Chile. Together, we’ve worked to preserve the family farming way of life for nearly 100 years, and for generations to come. Today, our cranberries show up in more than a thousand deliciously nourishing products in over 100 countries worldwide. United by passion and purpose, Ocean Spray is committed to trailblazing the power of the mighty cranberry through its offbeat taste and uncanny nutrition to feed better, happier lives for all. Born Tart. Raised Bold. ™
About Paramount Consumer Products
Paramount Consumer Products oversees all licensing and merchandising for Paramount (Nasdaq: PARA, PARAA), a leading global media and entertainment company that creates premium content and experiences for audiences worldwide. Driven by a diverse slate of consumer brands, Paramount Consumer Products’ portfolio is based on content from platforms including Paramount+, CBS (including CBS Television Studios and CBS Television Distribution), cable networks (including MTV, Nickelodeon and Showtime), and Paramount Pictures. Additionally, the division operates Paramount Game Studios. With properties spanning animation, live-action, preschool, youth and adult, Paramount Consumer Products is committed to creating the highest quality product for some of the world’s most beloved, iconic franchises. To view our range of consumer products and Paramount branded apparel, visit ParamountShop.com.
SOURCE Ocean Spray Cranberries, Inc.
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Exploring the Impact of Black Women in Politics: “Dear America, A Letter From Black Women” Documentary
“Dear America, A Letter From Black Women” is a documentary highlighting Black women’s role in U.S. politics, aiming to mobilize 100,000 Black women to vote.
I want to bring to your attention an important upcoming documentary that focuses on a significant yet often underrepresented aspect of American politics: the role of Black women. The film, titled “Dear America, A Letter From Black Women,” is part of The Dear America Project and aims to highlight the contributions of Black women in shaping political landscapes throughout U.S. history.
Project Ready, the nonprofit organization behind this initiative, is embarking on a national tour featuring short film pre-screenings accompanied by panel discussions and special guests. The goal of this campaign is ambitious—securing pledges from 100,000 Black women to commit to voting in what is shaping up to be a historic election.
The timing of this documentary could not be more relevant. As we navigate a pivotal moment in our political history, especially with a Black woman running for president, the film’s exploration of Black women’s narratives is crucial. Shennell Barnes-McCloud, the CEO of Project Ready, states, “This film not only amplifies silenced voices but also serves as a call to action to mobilize our community.” This gives the project a sense of urgency in encouraging civic engagement.
“Dear America” promises to be a crucial commentary on the experiences of Black women, featuring voices from various scholars, activists, and changemakers such as Hill Harper, Dr. Martin Luther King III, and LaTosha Brown. The documentary aims to bring to light the untold stories that often define the struggles for rights and justice faced by Black women throughout history.
The tour will make stops in cities including Chappaqua, Durham, Newark, Atlanta, and New Orleans, creating opportunities for community engagement and discussion. For those interested in exploring the pivotal roles of Black women in America’s political narrative, the screenings will offer a platform for reflection and conversation.
As a film enthusiast, I am looking forward to the insights this documentary will provide regarding the historical and contemporary significance of Black women in politics. It’s an important topic that deserves more attention, especially during this historic election season.
If you are interested in attending a screening, you may want to keep an eye on Project Ready’s website for RSVP details as more locations are announced.
“Dear America: A Letter From Black Women” is an insightful project that holds the potential to both inform and inspire action. For those of you looking for ways to engage with important civic initiatives this election season, this documentary represents a noteworthy opportunity.
To RSVP for a showing, please click here.
About Project Ready
Project Ready works to close the opportunity gaps and improve life outcomes by powering communities through civic engagement. First started in 2018 as a grassroots advocacy organization to increase voter turnout, Project Ready has since expanded its focus to include issues related to social justice, public health, and educational inequities. Visit https://www.projectreadynj.org/.
About Dear America, A Letter from Black Women
In a world where the voices of Black women have often been marginalized and silenced, “Dear America, A Letter from Black Women” is a powerful call to action and a testament to the enduring strength and resilience of Black women. This documentary film and social impact campaign shines a light on the untold stories of Black women, from their centuries-long battle for democracy to their continued fight against the rising threats to the future of our nation. The “Dear America” project is about more than just a film – it’s a movement. It’s about Black women rising up, claiming their rightful place at the forefront of the struggle for justice and equality, and demanding a future that reflects their values, their strength, and their unwavering determination. This election season, the “Dear America” project is mobilizing Black women and allies across the nation to not just vote, but to take a stand.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
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gaming
A Cautionary Tale: California’s New Digital Ownership Law and the Future of Gaming
California’s new law (AB 2426) aims to clarify digital ownership by prohibiting terms like “buy” for digital goods without clear warnings, emphasizing that we license rather than own them. Gaming Community
Today, I want to dive into a topic that’s been buzzing around the gaming community since PC Gamer dropped the news about California’s new law (AB 2426) concerning digital ownership. As a lifelong gamer and someone who has always been a bit skeptical about the concept of “buying” digital games, this new legislation hits home for me.
Cautionary Tale for the Gaming Community
First, let’s break down what this law entails. Starting in 2025, retailers in California will be prohibited from using terms like “buy” or “purchase” when it comes to digital goods—think video games, movies, and e-books—unless they issue a clear warning that these products can be taken away at any moment. The law aims to clarify that “ownership” of digital items is not the same as owning a physical product.
Honestly, my first reaction to this was a mix of relief and frustration. Relief because, finally, someone is calling out the elephant in the room: when we buy digital games, we’re not truly buying them, are we? We’re essentially licensing them. Frustration, on the other hand, stems from the fact that it took this long for lawmakers to recognize this issue, especially after high-profile incidents involving companies like Sony and Ubisoft.
Let’s talk about the impetus for this law. It all started when Sony announced the removal of certain content from the PlayStation Store due to expiring licenses. Players who had “bought” these digital shows suddenly found themselves locked out of content they thought they owned. Sony eventually reversed its decision, but the damage was done, and Assemblymember Jacqui Irwin decided it was time to step in.
Then came Ubisoft’s decision to pull the plug on The Crew, a racing game that became unplayable when its online servers were taken offline. Imagine investing your time and money into a game only to find out that you can’t even play the single-player mode anymore. It’s a stark reminder of how fragile our digital ownership really is.
The law itself might be dense and legalistic, but the implications are clear. It’s about time we start viewing digital purchases with a more critical lens. Sure, you can still play your games as long as the servers are up, but once those go down, what happens? You’re left with a beautiful box art in your library, but it’s just an empty shell.
The requirement for sellers to provide a warning or seek an “affirmative acknowledgment” from buyers seems like a step in the right direction. Yet, it feels more like a band-aid solution rather than a comprehensive fix. The real kicker for me is the provision that allows for a “permanent offline download” option. That’s what we need! A way to ensure that even if the digital landscape shifts, our ability to play isn’t stripped away overnight.
As gamers, we’ve been conditioned to accept the “always-online” model, but should we? This law is a wake-up call that reminds us to demand more from the companies we support. If I’m paying for a game, I want the assurance that I can keep playing it, regardless of server availability.
In conclusion, while California’s new law is a significant step forward in recognizing the nuances of digital ownership, it also highlights the ongoing battle between consumers and corporations. As we move toward an increasingly digital future, it’s crucial that we stay informed and advocate for our rights as gamers. After all, we deserve to know what we’re really “buying” when we hit that purchase button.
What are your thoughts on this new law? Do you feel more empowered as a consumer, or are you still worried about the future of digital gaming? Let’s chat in the comments!
Happy gaming, and remember to always read the fine print!
PC Gamer Article: New California law inspired by Ubisoft and Sony requires retailers to warn consumers that the digital games they buy can be taken away at any time
Welcome to the Consumer Corner section of STM Daily News, your ultimate destination for savvy shopping and informed decision-making! Dive into a treasure trove of insights and reviews covering everything from the hottest toys that spark joy in your little ones to the latest electronic gadgets that simplify your life. Explore our comprehensive guides on stylish home furnishings, discover smart tips for buying a home or enhancing your living space with creative improvement ideas, and get the lowdown on the best cars through our detailed auto reviews. Whether you’re making a major purchase or simply seeking inspiration, the Consumer Corner is here to empower you every step of the way—unlock the keys to becoming a smarter consumer today!
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