The passing of James Earl Jones signifies the conclusion of a pivotal era in American culture. Jones, along with Harry Belafonte and Sidney Poitier, was one of the few Black actors who rose to prominence during the 1960s, a time marked by racial tension and social upheaval. While each of these figures engaged with the political struggles of the period in their own ways, Jones distinguished himself by using his performances to comment on race and identity. His contributions came primarily through the art of storytelling, rather than direct political activism.

In 1967, as racial unrest flared across the U.S. and more than 150 riots erupted in cities nationwide, Jones was already a well-established actor, known for his work in both theater and television. While contemporaries like Belafonte took to public demonstrations and Poitier offered financial support to civil rights activists, Jones took on a different challenge. He chose to play the lead role in The Great White Hope, a play by Howard Sackler based on the life of Jack Johnson, the first Black heavyweight boxing champion. The production became a significant cultural moment, addressing the systemic racism that Johnson faced during his rise to fame.

The Great White Hope explored the life of Jack Jefferson, a fictionalized version of Jack Johnson, and delved into his turbulent relationship with a white woman, Eleanor Bachman, from 1908 to 1915. Jefferson’s refusal to adhere to societal expectations, especially in his personal life and professional career, made him a target for legal and social persecution. This defiance mirrored the struggles of many Black Americans during the Civil Rights Movement, making the play a powerful commentary on race relations in the U.S. Jones’ portrayal of Jefferson earned him a Tony Award, cementing his legacy as an actor capable of tackling complex roles with significant social implications.

Jones’ performance deeply resonated with audiences, including Muhammad Ali, who had been stripped of his own heavyweight title in 1967 for refusing to fight in the Vietnam War. Ali famously remarked that The Great White Hope reflected his own struggles, demonstrating the timelessness of Jefferson’s story and the relevance it had to ongoing battles for racial justice. Dominic Taylor, Acting Chair of Theater at UCLA, noted that Jones wasn’t just playing a character—he was challenging societal norms and contributing to the broader cultural conversation on Black identity and strength .

James Earl Jones’ work in The Great White Hope illustrated how art could serve as a form of activism, engaging audiences in conversations about race, power, and defiance. As Taylor observed, Jones was “looking to change the culture” by reshaping how Americans understood what it meant to be a fighter . His contributions to theater and film were not just performances, but cultural interventions that continue to influence discussions on race and justice today.