James Earl Jones

The world has bid farewell to one of its most profound voices, both literally and metaphorically. James Earl Jones, a venerated icon whose deep timbre and formidable presence captivated audiences for more than seven decades, passed away at his home in Pawling, New York, on September 9, 2024, at the age of 93.

Born on January 17, 1931, in Arkabutla, Mississippi, Jones overcame a stutter to speak resonant truths on the American stage, in the halls of Hollywood, and beyond. His journey from a quiet child who found solace in poetry and acting to a celebrated thespian and cultural pillar is nothing short of inspirational. A distinguished figure in American theater and cinema, Jones achieved the rare and prestigious EGOT status, having won Emmy, Grammy, Oscar, and Tony Awards throughout his illustrious career.

A Legacy of Diversity and Dynamic Roles

Jones’s influence stretched across every medium: from the boards of Broadway where he became a Tony-awarded actor, to the vast universe of “Star Wars” as the voice of Darth Vader, creating perhaps one of the most instantly recognizable voices in film history. His powerful performances were never confined to just one genre. He adeptly traversed from dramatic territories in films like “The Great White Hope” and “Cry, the Beloved Country,” to comedic roles in “Coming to America” and family classics like “The Lion King,” where his voice brought Mufasa to life.

Broadway and Beyond

Jones made his Broadway debut in 1957 and quickly found his footing on stage with notable performances in Shakespeare’s “Othello” and as Jack Jefferson in “The Great White Hope,” a role that earned him his first Tony Award. His portrayal of Troy Maxson in August Wilson’s “Fences” further cemented his legacy as a leading actor and a voice for powerful, introspective narratives concerning the African American experience.

The Voice That Commanded Attention

Apart from his roles in film and theater, Jones’s voice became emblematic of authority and depth. He lent this iconic voice to CNN, bringing a distinctive sound that defined the network’s branding for years. His vocal legacy also includes various books and narrations, forever preserving his rich, resonant tone.

Tributes Pour In

Following his passing, tributes from every corner of the entertainment industry have highlighted his influence. From Kevin Costner and Mark Hamill to newer voices like Viola Davis and Kerry Washington, all have expressed their grief and gratitude towards Jones’s contributions. Organizations from MLB to SAG-AFTRA and institutions like the University of Michigan, where Jones studied, have all honored his memory.

An Emblem of Dignity and Grace

Critics and actors alike, including Alec Baldwin and Viola Davis, have cited Jones as not only a seminal actor but also a cornerstone for Black excellence and dignity in Hollywood. His roles often exuded a moral force, embodying characters that transcended societal limitations and spoke to the core human experience of struggle, resilience, and hope.

James Earl Jones’s death marks the end of an era, but his legacy is indelible. He used his voice as an instrument of change, his performances as windows into the souls of often complex characters, and his career as a platform to elevate discussions on art, culture, and humanity. As we remember James Earl Jones, we not only celebrate his myriad contributions but also the indomitable spirit of a man who believed in the power of words and the potential of art to transform lives. His enduring influence will continue to inspire generations to come, ensuring that his rich, reverberating voice will never truly be silenced.

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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.

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The “Mature Heartthrobs” Yang Zhigang, Tong Dawei, Qin Hao, Zhang Songwen, Luo Jin, and Jordan Chan Make the List

HONG KONG /PRNewswire/ — As drama fever continues to rise, these seasoned tough guys are redefining trends. iQIYI’s premium selection of dramas proudly presents Strange Tales of Tang Dynasty II To the West and Interlaced Scenes, delivering the ultimate visual and emotional experiences. Yang Zhigang’s role in Strange Tales of Tang Dynasty II To the West showcases his mature charm, driving audiences wild, while Yang Xuwen captivates female fans with his handsome appearance and skilled performance. Tong Dawei, whose popularity soared due to his role in The Tale of Rose, plays a brooding writer in Interlaced Scenes, engaging in a battle of wits with Ma Yili’s experienced female detective. It’s a series of gripping performances and thrilling scenes.

Who says actors over 40 are only suited for supporting roles? Look at Qin Hao as Captain Cheng Bing, the relentless crime-fighting police chief in The Lonely Warrior, where the intense storyline challenges his acting skills. At 46, he still exudes undeniable charisma. Zhang Songwen, renowned in the crime drama genre, delivered a stellar performance in The Knockout, demonstrating his profound acting abilities. In the upcoming drama A Lonely Hero’s Journey, teaming up with the rising star Zeng Shunxi, they present a spy drama that captures attention. The highly anticipated cop-and-robber drama Homeland Guardian is set to premiere, featuring big names like Jordan Chan, Simon Yam, and Peter Ho, drawing inspiration from real-life cases of the Hong Kong police and bringing audiences an intense showdown between good and evil. Luo Jin, known for his subtle and sophisticated acting, will soon set to co-star with Sun Li in a thrilling crime mystery drama Breaking the Shadows. With its gripping plot and Luo Jin’s unique screen presence, drama fans are eagerly marking their calendars for this must-watch series.

Simultaneously, rising stars are also shining brightly. Chen Xiao’s remarkable acting in iQIYI’s international release Thirteen Years of Dust has earned him high praise from audiences. In the upcoming Go East, Tan Jianci is set to become a key player among the “hotshot actors.”

iQIYI’s premium selection of dramas once again prove that age is just a number. These talented male idols are breaking through their previous images and creating a new era for themselves. With a distinct selection of series, iQIYI continues to resonate with audiences. The dedicated production teams and unwavering pursuit of quality inject fresh energy into the Chinese entertainment industry. Such artistic offerings and compelling dramas naturally draw people in iQIYI productions are synonymous with quality. Hesitate no more—log in to iQIYI International or iQ.com now and experience every moment of drama excitement with us.

SOURCE IQIYI

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