Mark Canada, Indiana University Kokomo

If you knew Bob Newhart only as an actor – most notably as the star of the legendary “Bob Newhart Show” but also in a minor though memorable role in the movie “Elf” – you may not have thought of him as a literary figure.

However, Newhart, who died on July 18, 2024, at the age of 94, began his rise to stardom as a stand-up comic, crafting and delivering such brilliant monologues as “Driving Instructor” and “Bus Drivers School.” In those bits, he demonstrated a mastery of diction, dialect, character and dialogue worthy of the title “literary master.”

In my view, there is perhaps no more fitting recipient of the Mark Twain Prize than Newhart, who received it in 2002.

As a literary scholar, I typically study traditional poetry and fiction by canonical authors such as Twain and Edgar Allan Poe. But the mastery of language and character is not the sole possession of poets and novelists. Newhart demonstrated that stand-up comedy could also be an art form. https://www.youtube.com/embed/8KSUSk2-JXc?wmode=transparent&start=0 Bob Newhart accepts the Mark Twain Prize in 2002.

‘The old humble bit’

One of his masterpieces is his “Abe Lincoln vs. Madison Avenue” stand-up routine, built around a quirky but timely premise.

Having witnessed the rise of advertising and public relations in the 1950s and 1960s, Newhart imagined a scenario from an earlier age. What if, he asked, there had been no real man with the mind and stature of Abraham Lincoln during America’s Civil War?

The advertising industry, he goes on to say, “would have had to create a Lincoln.” He then performs a one-sided imaginary telephone conversation between a press agent and someone employed to play the part of this manufactured Lincoln – introducing it with a line that would become iconic for Newhart, saying the conversation would have gone “something like this.”

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The “something” that ensues is a tightly crafted, six-minute routine worthy of the term “poem.” Indeed, Newhart deployed some of the same literary devices wielded by previous masters such as Twain and Alexander Pope.

Like Twain, Newhart had a marvelous ear for dialect and seasoned his monologue with little bits of slang and jargon to capture the breezy speech of a stereotypical press agent.

“Hi, Abe, sweetheart, how are you, kid?” he begins. “How’s Gettysburg?”

Delivered quickly and offhandedly, the lines, like so much of Newhart’s stand-up work, are subtle, but effective – dead on without being too on the nose. Throughout the bit, he deploys similar little touches of diction – as when the agent refers to “Four score and seven,” the famous first words of the Gettysburg Address, as a “grabber.”

Herein lies another, even more effective, source of humor. Lincoln’s opening is famously lyrical and formal, the epitome of elocutionary eloquence, and the agent has reduced it to a “grabber.” This kind of deflation echoes an old satirical genre known as the “mock-epic.” As practiced by the Enlightment-era English poet, translator and satirist Alexander Pope and others, it draws its humor from the contrast between the sublime and the mundane or even ridiculous.

Newhart returns to the device when he has the agent try to explain to the made-up Abe the logic behind the line “The world will little note, nor long remember.”

Lincoln’s original line is graceful, alliterative and nearly perfectly iambic – an oratory gem if there ever was one – but, for the agent, it’s simply “the old humble bit.” https://www.youtube.com/embed/HTG3glnwoKE?wmode=transparent&start=0 Bob Newhart performs ‘Abe Lincoln vs. Madison Avenue.’

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Character is key

Master writers of humor or, for that matter, fiction in general, will tell you that character is key. Get the characters right, and humor – or drama – will follow.

With more of his delightfully subtle touches, Newhart paints a hilarious picture of the naive bumbler the agency has to craft into a Lincoln. Again, as is often the case with humor, irony helps to achieve the desired effect – in this case, humor.

Lincoln was an eloquent, noble figure. He was larger than life – and certainly larger than this dimwit, who doesn’t even get the joke when one of the agency’s “gag writers” supposedly dashes off a line on Gen. Ulysses S. Grant.

The agent shares it with the fake Abe, saying, “They got a beautiful squelch on Grant. The next time they bug ya about Grant’s drinkin’ … you tell ’em you’re gonna find out what brand he drinks and send a case of it to all your other generals.”

After a short pause, the agent says, with Newhart’s famous stammer, “Uh, no, no, it’s, it’s like, like the brand, uh, was the reason he won.” Finally, after another short pause, the exasperated agent snaps, “… use it, it’s funny.” https://www.youtube.com/embed/XaUYQZR-y7I?wmode=transparent&start=0 Bob Newhart performs ‘Driving Instructor.’

Give the audience credit

This last “exchange” demonstrates the most ingenious aspect of Newhart’s humor: his signature one-sided conversation, which he also used to hilarious effect in “Driving Instructor” and other routines.

Now you know why the opening sequence of “The Bob Newhart Show” has Newhart answering a phone – an homage to his then-famous stand-up gag.

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We never hear the voice of “Abe” but rather hear only the agent’s side of the conversation. It might seem like a minor detail, but this artifice means that we as the audience have to play an active role in the comedy. We hear the agent’s side and have to imagine what he is hearing. Sometimes the agent repeats what he supposedly hears, but, in this instance, when the agent is trying to explain the punchline of the Grant joke, the burden is on us.

Here again Newhart was employing an old device. In a dramatic monologue such as Robert Browning’s serious poem “My Last Duchess,” the poet leaves out key details, forcing us to detect them and complete the only partially told story.

The device is especially effective in comedy because, as Newhart knew on some level, we all like to feel smart. By putting us in the position of filling in the blanks in the conversation, Newhart gives us the opportunity to feel a little extra satisfaction and to create some of the humor ourselves by crafting our own sense of the rube on the other side of the conversation.

It was the master stroke for a master craftsman. With this brilliant touch, Newhart turned us all into comedians.

Mark Canada, Chancellor and Professor of English, Indiana University Kokomo, Indiana University Kokomo

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at our Entertainment Section and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

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Lauren Herold, Kenyon College

“Hello to all you lovely lesbians out there! My name is Debbie, and I’m here to show you a few things about taking care of your vaginal health.”

So opens the first “Lesbian Health” segment on “Dyke TV,” a lesbian feminist television series that aired on New York’s public access stations from 1993 to 2006.

The half-hour program focused on lesbian activism, community issues, art and film, news, health, sports and culture. Created by three artist-activists – Cuban playwright Ana Simo, theater director and producer Linda Chapman and independent filmmaker Mary Patierno – “Dyke TV” was one of the first TV shows made by and for LGBTQ women.

While many people might think LGBTQ+ representation on TV began in the 1990s on shows like “Ellen” and “Will & Grace,” LGBTQ+ people had already been producing their own television programming on local stations in the U.S. and Canada for decades.

In fact my research has identified hundreds of LGBTQ+ public access series produced across the country.

In a media environment historically hostile to LGBTQ+ people and issues, LGBTQ+ people created their own local programming to shine a spotlight on their lives, communities and concerns.

Experimentation and advocacy

On this particular health segment on “Dyke TV,” a woman proceeds to give herself a cervical exam in front of the camera using a mirror, a flashlight and a speculum.

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Close-up shots of this woman’s genitalia show her vulva, vagina and cervix as she narrates the exam in a matter-of-fact tone, explaining how viewers can use these tools on their own to check for vaginal abnormalities. Recalling the ethos of the women’s health movement of the 1970s, “Dyke TV” instructs audiences to empower themselves in a world where women’s health care is marginalized.

Because public access TV in New York was relatively unregulated, the show’s hosts could openly discuss sexual health and air segments that would otherwise be censored on broadcast networks.

Like today’s LGBTQ content creators, many of the producers of LGBTQ+ public access series experimented with genre, form and content in entertaining and imaginative ways.

LGBTQ+ actors, entertainers, activists and artists – who often experienced discrimination and tokenism on mainstream media – appeared on these series to publicize and discuss their work. Iconic drag queen RuPaul got his start performing on public access in Atlanta, where “The American Music Show” gave him a platform to promote his burgeoning drag persona in the mid-1980s. https://www.youtube.com/embed/hab5HrnfEZk?wmode=transparent&start=0 RuPaul appears on a 1985 episode of ‘The American Music Show.’

The producers often saw their series as a blend of entertainment, art and media activism.

Shows like “The Gay Dating Game” and “Be My Guest” were tongue-in-cheek satires of 1950s game shows. News programs such as “Gay USA,” which broadcast its first episode in 1985, reported on local and national LGBTQ news and health issues.

Variety shows like “The Emerald City” in the 1970s, “Gay Morning America” in the 1980s, and “Candied Camera” in the 1990s combined interviews, musical performances, comedy skits and news programming. Scripted soap operas, like “Secret Passions,” starred amateur gay actors. And on-the-street interview programs like “The Glennda and Brenda Show” used drag and street theater to spark discussions about LGBTQ issues.

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Other programs featured racier content.

In the 1980s and ‘90s, “Men & Films,” “The Closet Case Show” and “Robin Byrd’s Men for Men” incorporated interviews with porn stars, clips from porn videos and footage of sex at nightclubs and parties.

Skirting the censors

The regulation of sex on cable television has long been a political and cultural flashpoint.

But regulatory loopholes inadvertently allowed sexual content on public access. This allowed hosts and guests to talk openly about gay sex and safer sex practices on these shows – and even demonstrate them on camera.

The impetus for public access television was similar to the ethos of public broadcasting, which sought to create noncommercial and educational television programming in the service of the public interest.

In 1972, the Federal Communications Commission issued an order requiring cable television systems in the country’s top 100 markets to offer access channels for public use. The FCC mandated that cable companies make airtime, equipment and studio space to individuals and community groups to use for their own programming on a first-come, first-serve basis.

The FCC’s regulatory authority does not extend to editorial control over public access content. For this reason, repeated attempts to block, regulate and censor programming throughout the 1970s, 1980s and 1990s were challenged by cable access producers and civil liberties organizations.

The Supreme Court has continually struck down laws that attempt to censor cable access programming on First Amendment grounds. A cable operator can refuse to air a program that contains “obscenity,” but what counts as obscenity is up for interpretation.

Over the years, producers of LGBTQ-themed shows have fiercely defended their programming from calls for censorship, and the law has consistently been on their side.

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Airing the AIDS crisis

As the AIDS crisis began to devastate LGBTQ+ communities in the 1980s, public access television grew increasingly important.

Many of the aforementioned series devoted multiple segments and episodes to discussing the devastating impact of HIV/AIDS on their personal lives, relationships and communities. Series like “Living with AIDS”, “HoMoVISIONES” and “ACT UP Live!” were specifically designed to educate and galvanize viewers around HIV/AIDS activism. With HIV/AIDS receiving minimal coverage on mainstream media outlets – and a lack of political action by local, state and national officials – these programs were some of the few places where LGBTQ+ people could learn the latest information about the epidemic and efforts to combat it.

The long-running program “Gay USA” is one of the few remaining LGBTQ+ public access series; new episodes air locally in New York and nationally via Free Speech TV each week. While public access stations still exist in most cities around the country, production has waned since the advent of cheaper digital media technologies and streaming video services in the mid-2000s.

And yet during this media era – let’s call it “peak public access TV” – these scrappy, experimental, sexual, campy and powerful series offered remarkable glimpses into LGBTQ+ culture, history and activism.

Lauren Herold, Visiting Assistant Professor of Gender & Sexuality Studies, Kenyon College

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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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In an exceptionally inspiring episode of the People of Pickleball podcast, host Mike Sleeves Sliwa sits down with former tennis sensation and Canadian icon, Carling Bassett-Seguso. Dive into an intimate dialogue that traces Carling’s meteoric rise in the tennis world, her personal trials, and how the sport of pickleball became her unexpected sanctuary.

A Storied Past: Triumph and Tribulations

Carling Bassett-Seguso has a background many might dream of — a celebrated tennis career, fashion modeling, acting credits, and an induction into the Ontario Sports Hall of Fame in 2003. By age 16, she was already Canada’s top tennis player and had begun to make her mark on the world stage, reaching the semi-finals at the US Open and accumulating titles along the way.

However, the pressures of early fame and relentless competition bore heavily on her, leading to struggles with bulimia. Carling’s journey into these vulnerable territories highlights the oft-overlooked mental health challenges faced by top athletes.

Discovery of a Lifeline: Pickleball

In her chat with Mike Sleeves Sliwa, Carling opens up about her profound connection with pickleball — a sport that has not only reignited her passion for athletic pursuits but also provided solace during turbulent times in her post-tennis years. She discusses how transitioning from the rigorous demands of professional tennis to the engaging and community-centric world of pickleball helped her navigate personal hardships and rediscover joy and purpose.

Why Listen to This Episode?

This episode is not just for sports enthusiasts but for anyone looking for stories of overcoming adversity, personal transformation, or simply a riveting narrative of a legendary athlete finding rebirth in a sport that’s sweeping nations — pickleball.

Listeners will get a no-holds-barred look into how Carling tackled her deepest personal challenges and turned them into stepping stones, all through the lens of her journey into pickleball.

An Invitation to Explore

Tune into this compelling episode of People of Pickleball and get swept into a story of resilience and revival. Whether you’re a long-time fan of Carling or new to her story, her experiences and insights are bound to resonate and perhaps inspire you to think about how the simple joy of a sport can change lives.

Don’t miss out on the full narrative — a peek into the personal life, past achievements, and the new adventures of Carling Bassett-Seguso in the world of pickleball. This episode is a testament to the power of sports as a transformative force in people’s lives.

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Listen to the full episode here and join Carling and Mike as they delve deep into a life well-played and what comes after the game. Check it out on YouTube as well. https://youtu.be/ySJetkCnQQQ

Embrace the journey, the struggles, the restarts, and discover pickleball through the eyes of a former tennis star who found her second calling.

Carling Bassett-Seguso Paddle: https://www.prodrivepickleball.com

Wikipedia: https://en.wikipedia.org/wiki/Carling_Bassett-Seguso

Instagram: @carling_bassett

Hey, “People of Pickleball” fans! Looking for some great deals on the latest pickleball gear and services? We’ve got you covered! Just head over to this link for exclusive discounts crafted just for our listeners. Don’t miss out on elevating your game with top-notch pickleball essentials at amazing prices!

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Hey, “People of Pickleball” fans! Looking for some great deals on the latest pickleball gear and services? We’ve got you covered! Just head over to this link for exclusive discounts crafted just for our listeners. Don’t miss out on elevating your game with top-notch pickleball essentials at amazing prices!

Sign up for the SPR Newsletter and get news and episode release info right into your inbox: https://stmdailynews.com/sleeves-senior-pickleball-report/sleeves-spr-newsletter-sign-up/

Get the latest updates and information on the rapidly growing sport of pickleball, specifically designed for the senior community aged 50+. Check out Sleeve’s Senior Pickleball Report on YouTube to stay informed and up-to-date with the ever-changing world of pickleball. Join the community and stay ahead of the game. https://stmdailynews.com/sleeves-senior-pickleball-report

Looking for great deals on the products we’ve reviewed? Head over to our affiliates and partner page now and take advantage of the amazing discounts we’ve secured for you. Don’t miss out on this opportunity to save big! https://stm-store.online/spr-affiliates-and-partners/ Hey, “People of Pickleball” fans! Looking for some great deals on the latest pickleball gear and services? We’ve got you covered! Just head over to https://stm-store.online/spr-episode-links/ for exclusive discounts crafted just for our listeners. Don’t miss out on elevating your game with top-notch pickleball essentials at amazing prices!

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