1 00:00:01,291 --> 00:00:04,041 HELP EVERYONE EXPLORE NEW WORLDS 2 00:00:01,291 --> 00:00:04,041 AND IDEAS 3 00:00:04,083 --> 00:00:06,083 SUPPORT YOUR PBS 4 00:00:04,083 --> 00:00:06,083 STATION 5 00:00:08,291 --> 00:00:09,333 - THERE'S NO QUESTION, EVER, 6 00:00:09,375 --> 00:00:11,542 ABOUT WHO 7 00:00:09,375 --> 00:00:11,542 THE GREATEST COMEDIAN IS. 8 00:00:13,375 --> 00:00:15,667 IT'S NEVER ANYTHING OTHER 9 00:00:13,375 --> 00:00:15,667 THAN RICHARD PRYOR. 10 00:00:15,709 --> 00:00:17,542 - THEY CREATED 11 00:00:15,709 --> 00:00:17,542 THE FIVE-SECOND DELAY 12 00:00:17,583 --> 00:00:19,083 ON SATURDAY NIGHT LIVE 13 00:00:19,125 --> 00:00:20,208 BECAUSE OF RICHARD PRYOR. 14 00:00:20,250 --> 00:00:22,208 THEY SAID HE WAS A LOOSE CANNON. 15 00:00:22,250 --> 00:00:24,500 - DO YOU EVER NOTICE HOW NICE 16 00:00:22,250 --> 00:00:24,500 WHITE PEOPLE GET 17 00:00:24,542 --> 00:00:27,500 WHEN THERE'S 18 00:00:24,542 --> 00:00:27,500 A BUNCH OF NIGGAS AROUND? 19 00:00:27,542 --> 00:00:29,667 RIGHT? THEY GET OUTSIDE. 20 00:00:27,542 --> 00:00:29,667 THEY TALK TO EVERYBODY. 21 00:00:29,709 --> 00:00:32,750 RIGHT? 22 00:00:29,709 --> 00:00:32,750 THEY SAY, "HI, HOW YOU DOING? 23 00:00:32,792 --> 00:00:36,083 I DON'T KNOW YOU, 24 00:00:32,792 --> 00:00:36,083 BUT HERE'S MY WIFE. HELLO!" 25 00:00:36,125 --> 00:00:40,083 - HE WAS NOT TRYING 26 00:00:36,125 --> 00:00:40,083 TO BE THE PROPER BLACK MAN. 27 00:00:40,125 --> 00:00:43,250 RICHARD PRYOR WAS VERY MUCH 28 00:00:40,125 --> 00:00:43,250 TRYING TO BE A NIGGA. 29 00:00:43,291 --> 00:00:45,625 - RICHARD PRYOR WAS BORN 30 00:00:43,291 --> 00:00:45,625 ON THE EDGE. 31 00:00:45,667 --> 00:00:47,959 IMAGINE BEING BORN 32 00:00:45,667 --> 00:00:47,959 IN A BROTHEL. 33 00:00:48,000 --> 00:00:51,333 PEOPLE WEREN'T COMFORTABLE 34 00:00:48,000 --> 00:00:51,333 WITH WHERE HE WAS COMING FROM. 35 00:00:51,375 --> 00:00:53,417 AND RICH WAS LIKE, 36 00:00:51,375 --> 00:00:53,417 "WELL, THIS IS WHERE I'M FROM. 37 00:00:53,458 --> 00:00:56,417 "THIS IS WHAT I'VE BEEN THROUGH. 38 00:00:53,458 --> 00:00:56,417 THIS IS MY LIFE. 39 00:00:56,458 --> 00:00:57,667 I'M GONNA TELL IT." 40 00:00:57,709 --> 00:00:59,291 - RICHARD PRYOR, 41 00:00:57,709 --> 00:00:59,291 THE COMEDIAN, 42 00:00:59,333 --> 00:01:01,125 WAS BADLY BURNED 43 00:00:59,333 --> 00:01:01,125 IN AN ACCIDENT 44 00:01:01,166 --> 00:01:03,709 AT HIS HOME IN CALIFORNIA 45 00:01:01,166 --> 00:01:03,709 LAST NIGHT. 46 00:01:03,750 --> 00:01:06,792 THEY ARE SEVERE ENOUGH 47 00:01:03,750 --> 00:01:06,792 TO ENDANGER HIS LIFE. 48 00:01:06,834 --> 00:01:09,375 - I DON'T KNOW, 49 00:01:06,834 --> 00:01:09,375 WAS IT ATTEMPTED SUICIDE? 50 00:01:09,417 --> 00:01:10,875 WAS IT AN ACCIDENT? 51 00:01:10,917 --> 00:01:12,166 INCIDENT, WHATEVER. 52 00:01:12,208 --> 00:01:14,250 IT HAPPENED, 53 00:01:14,291 --> 00:01:16,750 AND IT MADE HIM EVEN BIGGER. 54 00:01:17,417 --> 00:01:20,625 [bright music] 55 00:01:20,667 --> 00:01:27,917 ♪ ♪ 56 00:01:27,959 --> 00:01:30,250 female announcer: THIS PROGRAM 57 00:01:27,959 --> 00:01:30,250 IS MADE POSSIBLE IN PART 58 00:01:30,291 --> 00:01:32,583 BY CONTRIBUTIONS 59 00:01:30,291 --> 00:01:32,583 TO YOUR PBS STATION 60 00:01:32,625 --> 00:01:34,333 FROM VIEWERS LIKE YOU. 61 00:01:34,375 --> 00:01:35,834 THANK YOU. 62 00:01:35,875 --> 00:01:38,792 [rock music] 63 00:01:38,834 --> 00:01:41,250 - RICHARD PRYOR WALKED YOU 64 00:01:38,834 --> 00:01:41,250 THROUGH HIS LIFE 65 00:01:41,291 --> 00:01:42,875 AND YOU SAW IT. 66 00:01:42,917 --> 00:01:44,000 HE PUT YOU RIGHT THERE. 67 00:01:44,041 --> 00:01:46,375 YOU WAS ON THE CORNER 68 00:01:44,041 --> 00:01:46,375 WITH THE WINO. 69 00:01:46,417 --> 00:01:48,291 YOU WAS ON THE CORNER. 70 00:01:48,333 --> 00:01:50,792 MY GOVERNMENT NAME 71 00:01:48,333 --> 00:01:50,792 IS TRACY MORGAN, 72 00:01:50,834 --> 00:01:53,500 I'M A HUMAN BEING, 73 00:01:50,834 --> 00:01:53,500 AND I'M FUNNY. 74 00:01:53,542 --> 00:01:54,959 HE NEVER LIED TO US. 75 00:01:55,000 --> 00:01:57,458 WHEN YOU LISTEN 76 00:01:55,000 --> 00:01:57,458 TO RICHARD PRYOR TALK ONSTAGE, 77 00:01:57,500 --> 00:02:00,125 IT WAS JUST 78 00:01:57,500 --> 00:02:00,125 A FUNNY CONVERSATION, 79 00:02:00,166 --> 00:02:01,709 AND THAT'S WHAT ATTRACTED ME 80 00:02:00,166 --> 00:02:01,709 TO STAND-UP. 81 00:02:01,750 --> 00:02:03,709 IF I'MA TELL A STORY ONSTAGE, 82 00:02:03,750 --> 00:02:06,375 IT'S GONNA BE WITH DETAIL 83 00:02:03,750 --> 00:02:06,375 AND COLOR. 84 00:02:07,792 --> 00:02:10,166 - HERE, I LEARNED MY HONESTY, 85 00:02:07,792 --> 00:02:10,166 AND I LEARNED MY ABILITY 86 00:02:10,208 --> 00:02:12,542 TO CONNECT WITH AUDIENCES 87 00:02:10,208 --> 00:02:12,542 AND TO BE VULNERABLE 88 00:02:12,583 --> 00:02:14,291 THROUGH WATCHING 89 00:02:12,583 --> 00:02:14,291 RICHARD PRYOR. 90 00:02:14,333 --> 00:02:15,834 I'M NOT VERY RELIGIOUS, 91 00:02:15,875 --> 00:02:17,333 BUT I DON'T HANG 92 00:02:15,875 --> 00:02:17,333 ON THE POPE'S EVERY WORD. 93 00:02:17,375 --> 00:02:18,750 I KNOW PEOPLE THAT DO, 94 00:02:18,792 --> 00:02:20,125 AND THAT MUST BE 95 00:02:18,792 --> 00:02:20,125 WHAT THAT'S LIKE. 96 00:02:20,166 --> 00:02:21,750 YOU KNOW, TO HAVE SOMEBODY 97 00:02:20,166 --> 00:02:21,750 THAT YOU SEE 98 00:02:21,792 --> 00:02:27,542 THAT BECOMES A KIND OF 99 00:02:21,792 --> 00:02:27,542 A GUIDING LIGHT FOR YOU. 100 00:02:27,583 --> 00:02:30,959 - WELL, RICHARD PRYOR 101 00:02:27,583 --> 00:02:30,959 IS THE COMEDY ICON. 102 00:02:31,000 --> 00:02:32,208 HE WAS KNOWN EVERYWHERE, 103 00:02:32,250 --> 00:02:35,333 AND HE WAS A TRUE AMBASSADOR 104 00:02:32,250 --> 00:02:35,333 TO COMEDY. 105 00:02:35,375 --> 00:02:40,125 HE IS MENTIONED 106 00:02:35,375 --> 00:02:40,125 IN THE SAME LOVING REVERENCE 107 00:02:40,166 --> 00:02:43,125 AS ALL THOSE OTHER 108 00:02:40,166 --> 00:02:43,125 GREAT HUMANITARIANS 109 00:02:43,166 --> 00:02:44,417 THAT WEREN'T COMEDIANS. 110 00:02:44,458 --> 00:02:45,667 - WHAT OTHER COMEDIANS 111 00:02:45,709 --> 00:02:47,875 DO I THINK RICHARD PRYOR 112 00:02:45,709 --> 00:02:47,875 INFLUENCED? 113 00:02:47,917 --> 00:02:49,458 ARE YOU CRAZY? 114 00:02:49,500 --> 00:02:52,834 YOU NAME ME A COMEDIAN 115 00:02:49,500 --> 00:02:52,834 WHO HADN'T, THROUGH SOME WAY, 116 00:02:52,875 --> 00:02:55,417 HAVE BEEN INFLUENCED 117 00:02:52,875 --> 00:02:55,417 BY RICHARD PRYOR, 118 00:02:55,458 --> 00:02:56,583 BECAUSE WE CALL HIM THE KING. 119 00:02:56,625 --> 00:02:58,250 WE CALL HIM THE GREATEST. 120 00:02:58,291 --> 00:02:59,458 FROM ROBIN WILLIAMS 121 00:02:59,500 --> 00:03:01,417 TO ROBIN HARRIS, 122 00:02:59,500 --> 00:03:01,417 J ANTHONY BROWN, 123 00:03:01,458 --> 00:03:02,917 BRUCE BRUCE, 124 00:03:01,458 --> 00:03:02,917 LOUIS CK, 125 00:03:02,959 --> 00:03:05,041 GEORGE CARLIN, 126 00:03:02,959 --> 00:03:05,041 DON RICKLES, 127 00:03:05,083 --> 00:03:06,166 I KNOW JERRY SEINFELD. 128 00:03:06,208 --> 00:03:07,166 YOU NAME ME A COMEDIAN-- 129 00:03:07,208 --> 00:03:08,458 CARROT TOP. 130 00:03:08,500 --> 00:03:09,458 EVERYBODY WAS INFLUENCED 131 00:03:09,500 --> 00:03:10,917 BY RICHARD PRYOR. 132 00:03:14,917 --> 00:03:16,333 male narrator: 133 00:03:14,917 --> 00:03:16,333 FOR RICHARD PRYOR, 134 00:03:16,375 --> 00:03:18,375 HIS STIRRING JOURNEY 135 00:03:16,375 --> 00:03:18,375 THAT CHANGED THE WORLD 136 00:03:18,417 --> 00:03:22,500 BEGAN THE FIRST TIME 137 00:03:18,417 --> 00:03:22,500 HE APPEARED ON TELEVISION-- 138 00:03:22,542 --> 00:03:25,709 SOMETHING A COMEDIAN 139 00:03:22,542 --> 00:03:25,709 NEVER FORGETS. 140 00:03:25,750 --> 00:03:27,041 - ON BROADWAY TONIGHT, 141 00:03:27,083 --> 00:03:28,875 FOR THE FIRST TIME 142 00:03:27,083 --> 00:03:28,875 IN TELEVISION, 143 00:03:28,917 --> 00:03:30,875 RICHARD PRYOR. 144 00:03:30,917 --> 00:03:34,667 [applause] 145 00:03:34,709 --> 00:03:38,041 - THE VERY FIRST TIME 146 00:03:34,709 --> 00:03:38,041 I WAS EVER ON TV DOING STAND-UP, 147 00:03:38,083 --> 00:03:40,250 IT HAPPENED SO QUICK 148 00:03:38,083 --> 00:03:40,250 THAT I DIDN'T EVEN 149 00:03:40,291 --> 00:03:41,625 HAVE TIME TO GET NERVOUS. 150 00:03:41,667 --> 00:03:43,417 - I'M GONNA TELL YOU 151 00:03:41,667 --> 00:03:43,417 A FEW THINGS ABOUT MYSELF, 152 00:03:43,458 --> 00:03:45,250 BECAUSE A LOT OF YOU 153 00:03:43,458 --> 00:03:45,250 PROBABLY DON'T KNOW ME. 154 00:03:45,291 --> 00:03:47,291 I'M NOT A NEW YORKER. 155 00:03:45,291 --> 00:03:47,291 MY HOME'S IN PEORIA, ILLINOIS. 156 00:03:47,333 --> 00:03:49,083 - THEY ASKED ME 157 00:03:47,333 --> 00:03:49,083 DID I HAVE SEVEN MINUTES, 158 00:03:49,125 --> 00:03:50,125 SO I SAID "YEAH," 159 00:03:50,166 --> 00:03:51,667 AND THEY SAID, 160 00:03:50,166 --> 00:03:51,667 "GO OUT ONSTAGE," 161 00:03:51,709 --> 00:03:53,542 AND I WAS ONSTAGE, 162 00:03:51,709 --> 00:03:53,542 SO I DIDN'T HAVE TIME. 163 00:03:53,583 --> 00:03:55,166 - I'M FROM 164 00:03:53,583 --> 00:03:55,166 A AVERAGE-TYPE FAMILY. 165 00:03:55,208 --> 00:03:57,083 11 KIDS. 166 00:03:57,125 --> 00:03:59,458 NO MOTHER OR FATHER. 167 00:03:57,125 --> 00:03:59,458 JUST KIDS. 168 00:03:59,500 --> 00:04:00,792 - WHEN YOU WALK ONSTAGE NOW, 169 00:03:59,500 --> 00:04:00,792 AND YOU KNOW 170 00:04:00,834 --> 00:04:03,500 THESE PEOPLE HAVE PAID 171 00:04:00,834 --> 00:04:03,500 TO COME SEE YOU. 172 00:04:03,542 --> 00:04:05,166 - I GRABBED THE CROOK. 173 00:04:05,208 --> 00:04:08,625 THAT WAS THE WRONG MOVE. 174 00:04:08,667 --> 00:04:10,625 - I ALREADY KNOW EVERY NIGHT, 175 00:04:08,667 --> 00:04:10,625 BEFORE I GO ONSTAGE, 176 00:04:10,667 --> 00:04:11,709 I'M GONNA HAVE A GOOD TIME, 177 00:04:11,750 --> 00:04:13,417 WHETHER YOU LIKE IT OR NOT. 178 00:04:13,458 --> 00:04:14,458 - HE THREW ME DOWN. 179 00:04:13,458 --> 00:04:14,458 I GOT UP. 180 00:04:14,500 --> 00:04:15,792 HE KNOCKED ME DOWN. 181 00:04:14,500 --> 00:04:15,792 I GOT UP. 182 00:04:15,834 --> 00:04:17,458 HE KICKED ME DOWN. 183 00:04:15,834 --> 00:04:17,458 HE SAID, "GET UP." 184 00:04:17,500 --> 00:04:19,208 I SAID, 185 00:04:17,500 --> 00:04:19,208 "HA HA HA." 186 00:04:19,250 --> 00:04:22,500 - AND THE NEXT 187 00:04:19,250 --> 00:04:22,500 FIVE TO SEVEN MINUTES 188 00:04:22,542 --> 00:04:24,000 IS A COMPLETE BLUR. 189 00:04:24,041 --> 00:04:25,500 IT'S OUT-OF-BODY EXPERIENCE. 190 00:04:25,542 --> 00:04:26,667 I REMEMBER, AT ONE POINT, 191 00:04:26,709 --> 00:04:30,291 I WAS UP ABOVE MYSELF 192 00:04:26,709 --> 00:04:30,291 LOOKING DOWN AT ME 193 00:04:30,333 --> 00:04:31,667 DOING STAND-UP. 194 00:04:31,709 --> 00:04:33,542 - THEN MY WIFE 195 00:04:31,709 --> 00:04:33,542 THREW HIM ACROSS THE FURNITURE. 196 00:04:33,583 --> 00:04:34,667 SHE SLAPPED ME. 197 00:04:33,583 --> 00:04:34,667 THE POLICE CAME. 198 00:04:34,709 --> 00:04:36,208 SHE BEAT THEM UP. 199 00:04:34,709 --> 00:04:36,208 THEY TOOK HER AWAY. 200 00:04:36,250 --> 00:04:38,375 ME AND THE CROOK 201 00:04:36,250 --> 00:04:38,375 LIVING HAPPILY EVER AFTER. 202 00:04:38,417 --> 00:04:40,709 THE END. 203 00:04:38,417 --> 00:04:40,709 GOOD NIGHT. 204 00:04:40,750 --> 00:04:42,458 - AND IF YOU DID WELL, 205 00:04:42,500 --> 00:04:45,333 THE NEXT DAY, YOU KNOW, 206 00:04:42,500 --> 00:04:45,333 IT ALL CHANGES. 207 00:04:47,250 --> 00:04:50,000 - EVEN WHEN HE WAS SUPPOSEDLY 208 00:04:47,250 --> 00:04:50,000 SQUARE AND LEGIT, 209 00:04:50,041 --> 00:04:52,417 HIS HEART WAS STILL 210 00:04:50,041 --> 00:04:52,417 IN THE STREETS. 211 00:04:52,458 --> 00:04:55,500 DR. TODD BOYD, 212 00:04:52,458 --> 00:04:55,500 PROFESSOR OF CRITICAL STUDIES, 213 00:04:55,542 --> 00:04:58,291 USC SCHOOL 214 00:04:55,542 --> 00:04:58,291 OF CINEMATIC ARTS. 215 00:04:58,333 --> 00:05:00,166 THIS SORT OF PERSPECTIVE 216 00:05:00,208 --> 00:05:03,417 OF A BLACK MAN 217 00:05:00,208 --> 00:05:03,417 FROM THIS GENERATION 218 00:05:03,458 --> 00:05:06,333 WHO'S CONNECTED TO THE STREETS 219 00:05:06,375 --> 00:05:08,041 AND HOW YOU USE LANGUAGE 220 00:05:08,083 --> 00:05:11,125 TO SORT OF COMMUNICATE THIS 221 00:05:08,083 --> 00:05:11,125 WAS VERY FAMILIAR TO ME. 222 00:05:16,000 --> 00:05:17,709 RICHARD PRYOR'S INTERESTING 223 00:05:17,750 --> 00:05:20,333 BECAUSE HE'S SOMEONE 224 00:05:17,750 --> 00:05:20,333 WHO'S FROM THE MIDWEST 225 00:05:20,375 --> 00:05:22,041 AND SORT OF MOVED THROUGH 226 00:05:22,083 --> 00:05:24,583 VARIOUS LOW-LEVEL CIRCLES 227 00:05:22,083 --> 00:05:24,583 IN THE MIDWEST. 228 00:05:24,625 --> 00:05:27,875 EVENTUALLY MADE HIS WAY 229 00:05:24,625 --> 00:05:27,875 INTO NEW YORK. 230 00:05:27,917 --> 00:05:29,625 - AT EASE. 231 00:05:27,917 --> 00:05:29,625 AT EASE. 232 00:05:29,667 --> 00:05:31,125 THAT'S RIGHT. 233 00:05:31,166 --> 00:05:32,875 I'M TIRED 234 00:05:31,166 --> 00:05:32,875 OF TELLING YOU THIS, GUYS. 235 00:05:32,917 --> 00:05:35,750 OVER AND OVER, EVERY TIME I TURN 236 00:05:32,917 --> 00:05:35,750 AROUND, I GOT TO TELL YOU. 237 00:05:35,792 --> 00:05:38,625 THE TORPEDO TUBES 238 00:05:35,792 --> 00:05:38,625 ARE ON THE LEFT. 239 00:05:38,667 --> 00:05:42,792 THE LAVATORY'S ON THE RIGHT. 240 00:05:42,834 --> 00:05:44,834 - YOU CAN TAKE 241 00:05:42,834 --> 00:05:44,834 ALL THE RANCOR OUT OF IT, 242 00:05:44,875 --> 00:05:48,417 YOU CAN TAKE THE-- 243 00:05:44,875 --> 00:05:48,417 ALL THE MISOGYNY OUT OF IT, 244 00:05:48,458 --> 00:05:53,500 AND YOU STILL HAVE 245 00:05:48,458 --> 00:05:53,500 A VERY, VERY FUNNY MAN. 246 00:05:53,542 --> 00:05:55,583 MY NAME IS CECIL BROWN. 247 00:05:55,625 --> 00:05:58,166 I AM A FRIEND OF RICHARD PRYOR. 248 00:05:58,208 --> 00:06:00,125 THE COMEDY OF RICHARD PRYOR 249 00:05:58,208 --> 00:06:00,125 IS UNIVERSAL, 250 00:06:00,166 --> 00:06:05,458 AND THAT KIND OF HUMOR ADDRESSES 251 00:06:00,166 --> 00:06:05,458 THE NEW MILLENNIUM VERY WELL. 252 00:06:05,500 --> 00:06:07,625 VERY WELL. 253 00:06:07,667 --> 00:06:11,709 THE TYPE OF COMEDY RICHARD 254 00:06:07,667 --> 00:06:11,709 WAS DOING WHEN I FIRST MET HIM 255 00:06:11,750 --> 00:06:16,542 WAS CALLED "WHITE BREAD HUMOR." 256 00:06:16,583 --> 00:06:19,875 NO CURSE WORDS. 257 00:06:19,917 --> 00:06:22,959 NO REFERENCES TO ANYTHING 258 00:06:23,000 --> 00:06:27,583 SUCH AS RACE, SEX, OR DRUGS. 259 00:06:27,625 --> 00:06:30,500 - LAST WEEK 260 00:06:27,625 --> 00:06:30,500 WE'S WATCHING TELEVISION. 261 00:06:30,542 --> 00:06:33,583 I HEARD A KNOCK ON THE DOOR. 262 00:06:33,625 --> 00:06:35,625 I SAID TO MY WIFE, 263 00:06:35,667 --> 00:06:39,125 "THERE'S A KNOCK ON THE DOOR." 264 00:06:40,250 --> 00:06:43,458 - RICHARD STARTS OUT 265 00:06:40,250 --> 00:06:43,458 AS A PERSON 266 00:06:43,500 --> 00:06:45,583 IMITATING BILL COSBY. 267 00:06:45,625 --> 00:06:47,667 - TO BE GREAT, 268 00:06:45,625 --> 00:06:47,667 YOU GOT TO STUDY THE GREATS. 269 00:06:47,709 --> 00:06:51,792 BILL COSBY WAS INSPIRATION 270 00:06:47,709 --> 00:06:51,792 FOR RICHARD PRYOR. 271 00:06:51,834 --> 00:06:53,375 - YOU KNOW, THIS SKINNY GUY, 272 00:06:53,417 --> 00:06:56,000 AND HIS, LIKE, YOU KNOW, 273 00:06:53,417 --> 00:06:56,000 SUIT IS TOO BIG. 274 00:06:56,041 --> 00:07:00,375 RICHARD PRYOR WAS TRYING TO BE 275 00:06:56,041 --> 00:07:00,375 THE BEST HE COULD BE. 276 00:07:00,417 --> 00:07:01,709 - I LIKE NEW YORK CITY. 277 00:07:01,750 --> 00:07:03,583 I'VE BEEN WORKING IN THE VILLAGE 278 00:07:01,750 --> 00:07:03,583 IN COFFEE HOUSES, 279 00:07:03,625 --> 00:07:05,208 AND I LIKE IT, BECAUSE THEY 280 00:07:03,625 --> 00:07:05,208 DON'T SERVE ANY BOOZE, 281 00:07:05,250 --> 00:07:07,500 JUST COFFEE, ICE CREAM, 282 00:07:05,250 --> 00:07:07,500 WEIRD PILLS, 283 00:07:07,542 --> 00:07:09,667 AND IT'S PRETTY WILD. 284 00:07:09,709 --> 00:07:11,166 - AND THEN RICHARD 285 00:07:09,709 --> 00:07:11,166 PROBABLY THOUGHT 286 00:07:11,208 --> 00:07:13,792 THAT HE HAD TO BE LIKE BILL 287 00:07:11,208 --> 00:07:13,792 TO BE IN. 288 00:07:16,542 --> 00:07:20,667 - HE'S NOT, SORT OF, TAKING 289 00:07:16,542 --> 00:07:20,667 A STRONG POLITICAL STAND. 290 00:07:20,709 --> 00:07:24,917 HE'S NOT ATTEMPTING 291 00:07:20,709 --> 00:07:24,917 TO BE CONFRONTATIONAL. 292 00:07:24,959 --> 00:07:26,583 HE'S QUITE THE OPPOSITE. 293 00:07:26,625 --> 00:07:30,625 - [groaning] 294 00:07:26,625 --> 00:07:30,625 AMEN. 295 00:07:30,667 --> 00:07:33,750 - AND HE STARTED BACK IN THE DAY 296 00:07:30,667 --> 00:07:33,750 WHEN THERE WERE NO BLACKS ON TV, 297 00:07:33,792 --> 00:07:37,000 AND IT WAS SO LONG AGO, 298 00:07:33,792 --> 00:07:37,000 IT WAS ONLY BLACK-AND-WHITE TVs, 299 00:07:37,041 --> 00:07:38,709 SO YOU HAD TO BE 300 00:07:37,041 --> 00:07:38,709 EITHER BLACK OR WHITE. 301 00:07:38,750 --> 00:07:40,500 EITHER WAY, 302 00:07:38,750 --> 00:07:40,500 YOU HAD NO CHOICE. 303 00:07:43,333 --> 00:07:45,625 - I THINK 304 00:07:43,333 --> 00:07:45,625 HE WAS JUST FINDING HIS WAY. 305 00:07:45,667 --> 00:07:47,875 YOU WANT TO SELL TICKETS 306 00:07:45,667 --> 00:07:47,875 AND YOU WANT TO BE POPULAR. 307 00:07:47,917 --> 00:07:50,709 - OH, YOU GUYS ARE FACETIOUS. 308 00:07:50,750 --> 00:07:54,083 [laughter] 309 00:07:54,125 --> 00:07:55,500 WHAT'D HE SAY, MAN? 310 00:07:55,542 --> 00:07:57,709 I DON'T KNOW. 311 00:07:55,542 --> 00:07:57,709 YOU WANT TO KILL HIM? 312 00:07:57,750 --> 00:08:00,667 - WHAT CAN I DO TO GET 313 00:07:57,750 --> 00:08:00,667 SOME OF THESE OPPORTUNITIES 314 00:08:00,709 --> 00:08:03,083 THAT ARE POTENTIALLY AVAILABLE? 315 00:08:03,125 --> 00:08:06,208 - HERE HE IS, OUR OWN LITTLE 316 00:08:03,125 --> 00:08:06,208 RICHIE PRYOR. 317 00:08:06,250 --> 00:08:09,542 RICHIE! 318 00:08:09,583 --> 00:08:11,750 narrator: PRYOR'S NON-OFFENSIVE 319 00:08:09,583 --> 00:08:11,750 PHYSICAL STYLE 320 00:08:11,792 --> 00:08:14,125 IS GAINING LOTS OF ATTENTION. 321 00:08:14,166 --> 00:08:17,667 HE IS NOW A RISING 322 00:08:14,166 --> 00:08:17,667 STAND-UP COMIC STAR 323 00:08:17,709 --> 00:08:19,125 AND A FREQUENT GUEST 324 00:08:19,166 --> 00:08:22,417 ON THE MERV GRIFFIN 325 00:08:19,166 --> 00:08:22,417 SYNDICATED TALK SHOW. 326 00:08:22,458 --> 00:08:25,458 - EVERY BLACK PERSON IN AMERICA 327 00:08:22,458 --> 00:08:25,458 WATCHED RICHARD PRYOR. 328 00:08:25,500 --> 00:08:27,000 - HOW YOU DO THAT, RICHARD? 329 00:08:25,500 --> 00:08:27,000 YOU JUST-- 330 00:08:27,041 --> 00:08:28,583 - [in high-pitched voice] 331 00:08:27,041 --> 00:08:28,583 I DON'T KNOW. 332 00:08:28,625 --> 00:08:30,625 I JUST KIND OF GO OUT THERE 333 00:08:28,625 --> 00:08:30,625 AND I JUST DO IT. 334 00:08:30,667 --> 00:08:32,709 I DON'T KNOW HOW. 335 00:08:32,750 --> 00:08:34,125 - BECAUSE THAT'S ALL WE DID. 336 00:08:34,166 --> 00:08:35,625 WE NEVER SAW 337 00:08:34,166 --> 00:08:35,625 ANY BLACK PEOPLE BACK THEN. 338 00:08:35,667 --> 00:08:37,166 EVERYBODY WOULD CALL 339 00:08:35,667 --> 00:08:37,166 ON THE TELEPHONE. 340 00:08:37,208 --> 00:08:38,667 EVERYBODY WOULD GO 341 00:08:37,208 --> 00:08:38,667 TO EVERYBODY'S HOUSE. 342 00:08:38,709 --> 00:08:40,083 IF YOU DIDN'T HAVE A TV, 343 00:08:40,125 --> 00:08:42,834 YOU SHOWED UP AT SOMEBODY'S HOME 344 00:08:40,125 --> 00:08:42,834 WITH A TELEVISION. 345 00:08:42,875 --> 00:08:45,792 [laughter] 346 00:08:53,959 --> 00:08:57,625 - OH, THAT'S IN MY TEETH. 347 00:08:57,667 --> 00:08:59,542 YOU'RE UNDER ARREST. 348 00:08:59,583 --> 00:09:01,625 - NOW WHAT DO WE DO? 349 00:09:01,667 --> 00:09:03,792 - SMOKE A CIGARETTE. 350 00:09:03,834 --> 00:09:06,750 THEY TASTE GOOD. 351 00:09:03,834 --> 00:09:06,750 MAYBE THEY SMOKE WELL. 352 00:09:06,792 --> 00:09:08,041 - AND HE'S FUNNY, 353 00:09:08,083 --> 00:09:09,667 BUT THAT RICHARD PRYOR'S 354 00:09:08,083 --> 00:09:09,667 VERY DIFFERENT 355 00:09:09,709 --> 00:09:12,959 THAN THE RICHARD PRYOR WHO 356 00:09:09,709 --> 00:09:12,959 BECOMES POPULAR IN THE 1970s. 357 00:09:13,000 --> 00:09:15,625 THAT'S ALMOST A DIFFERENT GUY. 358 00:09:17,333 --> 00:09:20,542 narrator: DESPITE HIS METEORIC 359 00:09:17,333 --> 00:09:20,542 RISE TO SUCCESS, 360 00:09:20,583 --> 00:09:22,667 RICHARD PRYOR IS RESTLESS. 361 00:09:22,709 --> 00:09:25,375 HE'S BEGINNING 362 00:09:22,709 --> 00:09:25,375 TO FEEL CONSTRAINED ONSTAGE. 363 00:09:25,417 --> 00:09:29,166 - HE'S NOT FULLY 364 00:09:25,417 --> 00:09:29,166 EXPRESSING HIMSELF 365 00:09:29,208 --> 00:09:30,583 IN THE WAY THAT HE WOULD LIKE. 366 00:09:30,625 --> 00:09:33,458 HE'S REALLY AN IMITATOR 367 00:09:30,625 --> 00:09:33,458 OF OTHER COMICS. 368 00:09:36,750 --> 00:09:38,750 narrator: 369 00:09:36,750 --> 00:09:38,750 AS PRYOR CONTINUES TO PERFORM 370 00:09:38,792 --> 00:09:41,458 A BILL COSBY STYLE OF COMEDY, 371 00:09:41,500 --> 00:09:43,583 THE TASTE 372 00:09:41,500 --> 00:09:43,583 OF AMERICAN POP CULTURE 373 00:09:43,625 --> 00:09:45,750 IS NOW REFLECTING 374 00:09:43,625 --> 00:09:45,750 THE SWELLING TIDES 375 00:09:45,792 --> 00:09:47,750 OF SOCIAL CHANGE AND UNREST. 376 00:09:50,208 --> 00:09:53,625 NOWHERE IS THIS REFLECTED MORE 377 00:09:50,208 --> 00:09:53,625 THAN IN NEW YORK CITY. 378 00:09:55,333 --> 00:09:59,375 - RICHARD TAUGHT ME 379 00:09:55,333 --> 00:09:59,375 A LOT OF WHAT NOT TO DO. 380 00:09:59,417 --> 00:10:01,166 [laughs] 381 00:10:01,208 --> 00:10:06,500 HE WAS DEFINITELY A ROLE MODEL 382 00:10:01,208 --> 00:10:06,500 OF WHAT NOT TO DO. 383 00:10:06,542 --> 00:10:08,917 HE THOUGHT I WAS, 384 00:10:06,542 --> 00:10:08,917 LIKE, THE SQUAREST... 385 00:10:08,959 --> 00:10:10,667 [laughing] 386 00:10:10,709 --> 00:10:12,834 GUY ON THE PLANET. 387 00:10:15,667 --> 00:10:19,417 - IT WAS A VERY VIBRANT TIME 388 00:10:15,667 --> 00:10:19,417 IN NEW YORK. 389 00:10:19,458 --> 00:10:23,792 THERE WAS SOCIAL ACTIVISM 390 00:10:19,458 --> 00:10:23,792 IN THE STREETS. 391 00:10:23,834 --> 00:10:27,709 IF YOU WEREN'T DOING 392 00:10:23,834 --> 00:10:27,709 SOCIALLY RELEVANT MATERIAL, 393 00:10:27,750 --> 00:10:31,083 YOU WEREN'T 394 00:10:27,750 --> 00:10:31,083 REALLY RELEVANT YOURSELF. 395 00:10:31,125 --> 00:10:33,291 - NOW, WHAT'S HAPPENING IS 396 00:10:31,125 --> 00:10:33,291 HIS MOVE AWAY 397 00:10:33,333 --> 00:10:35,917 FROM, SAY, 398 00:10:33,333 --> 00:10:35,917 PURELY PHYSICAL COMEDY-- 399 00:10:35,959 --> 00:10:39,250 GAGS AND STUNTS AND SKITS-- 400 00:10:39,291 --> 00:10:42,166 TO WHAT WE MIGHT CALL 401 00:10:39,291 --> 00:10:42,166 MORE INTELLECTUAL COMEDY, 402 00:10:42,208 --> 00:10:43,667 MORE POLITICAL COMEDY. 403 00:10:43,709 --> 00:10:46,041 - RICHARD TRIED TO BE SAFE 404 00:10:43,709 --> 00:10:46,041 IN THE BEGINNING. 405 00:10:46,083 --> 00:10:47,875 I DON'T THINK 406 00:10:46,083 --> 00:10:47,875 HE FOUND MUCH HAPPINESS 407 00:10:47,917 --> 00:10:50,542 IN TRYING TO BE SOMEBODY ELSE. 408 00:10:54,375 --> 00:10:56,375 narrator: 409 00:10:54,375 --> 00:10:56,375 IN SEPTEMBER 1967, 410 00:10:56,417 --> 00:10:59,834 PRYOR HAS WHAT HE WOULD LATER 411 00:10:56,417 --> 00:10:59,834 CALL AN EPIPHANY. 412 00:10:59,875 --> 00:11:02,583 PRYOR WAS PERFORMING 413 00:10:59,875 --> 00:11:02,583 AT THE ALADDIN HOTEL 414 00:11:02,625 --> 00:11:05,125 IN LAS VEGAS, NEVADA. 415 00:11:05,166 --> 00:11:08,166 - AND HE WOULD MENTION 416 00:11:05,166 --> 00:11:08,166 SOME OF THE RAT-PACK PEOPLE 417 00:11:08,208 --> 00:11:09,917 WERE SITTING AND WATCHING HIM. 418 00:11:12,000 --> 00:11:13,333 - HE WAS ONSTAGE, 419 00:11:13,375 --> 00:11:15,709 AND EVERYBODY IN THE AUDIENCE 420 00:11:13,375 --> 00:11:15,709 SITTING IN JACKETS. 421 00:11:15,750 --> 00:11:17,917 YOU COULDN'T GO TO A SHOW 422 00:11:15,750 --> 00:11:17,917 UNLESS YOU HAD A JACKET ON 423 00:11:17,959 --> 00:11:19,417 AND A SHIRT AND TIE. 424 00:11:19,458 --> 00:11:22,417 HE WAS PROBABLY ONE OF THE FEW 425 00:11:19,458 --> 00:11:22,417 BLACK PEOPLE IN THE CLUB. 426 00:11:22,458 --> 00:11:24,959 - AND RICHARD SORT OF REALIZES 427 00:11:25,000 --> 00:11:30,458 THAT HE'S IMITATING THIS 428 00:11:25,000 --> 00:11:30,458 VERY SQUARE GUY IN BILL COSBY. 429 00:11:30,500 --> 00:11:32,959 HE'S NOT FOUND HIS OWN VOICE. 430 00:11:33,000 --> 00:11:35,458 - AND HE THOUGHT 431 00:11:33,000 --> 00:11:35,458 THE IDEA OF HIM 432 00:11:35,500 --> 00:11:39,542 WAS OF A JOKE, 433 00:11:35,500 --> 00:11:39,542 A RIDICULOUS PERSON. 434 00:11:42,417 --> 00:11:45,250 - COMICS WANT 435 00:11:42,417 --> 00:11:45,250 TO ENTERTAIN PEOPLE, 436 00:11:45,291 --> 00:11:48,458 BUT THEY ALSO WANT 437 00:11:45,291 --> 00:11:48,458 TO KEEP THEIR SELF-RESPECT. 438 00:11:50,834 --> 00:11:51,875 - KIND OF BOILED OVER, 439 00:11:51,917 --> 00:11:53,208 AND WHEN HE LOOKED 440 00:11:51,917 --> 00:11:53,208 IN THE AUDIENCE 441 00:11:53,250 --> 00:11:55,083 AND SAW HIM TELLING JOKES 442 00:11:55,125 --> 00:11:57,542 TO PEOPLE 443 00:11:55,125 --> 00:11:57,542 THAT LOOKED AT HIM ODD-- 444 00:11:57,583 --> 00:11:58,959 I MEAN, IF THEY'RE 445 00:11:57,583 --> 00:11:58,959 GONNA LOOK AT YOU, 446 00:11:59,000 --> 00:12:00,709 AT LEAST HAVE THEM 447 00:11:59,000 --> 00:12:00,709 LOOK AT YOU AS A MAN. 448 00:12:04,125 --> 00:12:07,875 - YOUR SELF-RESPECT 449 00:12:04,125 --> 00:12:07,875 IS BEING CHALLENGED, 450 00:12:07,917 --> 00:12:10,083 AND YOU TAKE IT VERY PERSONAL. 451 00:12:12,959 --> 00:12:14,875 - AND RICHARD SAID 452 00:12:12,959 --> 00:12:14,875 HE WAS SO EMBARRASSED 453 00:12:14,917 --> 00:12:17,041 THAT HE WALKED OFF THE STAGE. 454 00:12:25,083 --> 00:12:28,834 - A VERY IMPORTANT TURNING POINT 455 00:12:25,083 --> 00:12:28,834 IN HIS CAREER, 456 00:12:28,875 --> 00:12:31,667 BECAUSE THIS IS THE MOMENT 457 00:12:28,875 --> 00:12:31,667 WHEN HE DECIDES 458 00:12:31,709 --> 00:12:35,208 THE OLD RICHARD PRYOR 459 00:12:31,709 --> 00:12:35,208 IS GOING TO BE LAID TO REST. 460 00:12:35,250 --> 00:12:36,959 - HE WALKED OFF THE STAGE 461 00:12:35,250 --> 00:12:36,959 IN THE WRONG DIRECTION, 462 00:12:37,000 --> 00:12:39,375 AND THEY TOLD HIM, "YOU GOT 463 00:12:37,000 --> 00:12:39,375 TO GO BACK ACROSS THE STAGE." 464 00:12:39,417 --> 00:12:43,000 HE SAID, "NO, I'M NOT GOING BACK 465 00:12:39,417 --> 00:12:43,000 ACROSS THAT STAGE." 466 00:12:47,750 --> 00:12:50,625 - IT'S ALMOST POETIC 467 00:12:47,750 --> 00:12:50,625 THAT THIS GUY 468 00:12:50,667 --> 00:12:55,166 WHO, IN THE NEXT DECADE 469 00:12:50,667 --> 00:12:55,166 WILL BECOME THIS HUGE STAR, 470 00:12:55,208 --> 00:12:57,959 ARRIVES AT THIS POINT 471 00:12:55,208 --> 00:12:57,959 BY WALKING AWAY 472 00:12:58,000 --> 00:12:59,166 FROM SOMETHING--IT'S WORKING. 473 00:12:59,208 --> 00:13:01,583 IT'S A COMING-TO-CONSCIOUSNESS. 474 00:13:01,625 --> 00:13:05,792 IT'S A TRANSITION 475 00:13:01,625 --> 00:13:05,792 FROM ONE PHASE TO THE NEXT. 476 00:13:22,083 --> 00:13:24,834 narrator: RICHARD FRANKLIN 477 00:13:22,083 --> 00:13:24,834 LENNOX THOMAS PRYOR 478 00:13:24,875 --> 00:13:29,375 WAS BORN DECEMBER 1, 1940, 479 00:13:24,875 --> 00:13:29,375 IN PEORIA, ILLINOIS. 480 00:13:34,667 --> 00:13:40,792 - PEORIA, ILLINOIS, IS ONE 481 00:13:34,667 --> 00:13:40,792 OF A NUMBER OF MIDWESTERN TOWNS 482 00:13:40,834 --> 00:13:46,959 THAT WOULD DEVELOP 483 00:13:40,834 --> 00:13:46,959 A SIZEABLE BLACK POPULATION. 484 00:13:53,834 --> 00:13:56,417 narrator: PRYOR'S FATHER, 485 00:13:53,834 --> 00:13:56,417 LEROY "BUCK CARTER" PRYOR, 486 00:13:56,458 --> 00:13:59,834 WAS A FORMER GOLDEN GLOVES BOXER 487 00:13:56,458 --> 00:13:59,834 AND A PIMP. 488 00:14:02,125 --> 00:14:03,542 HIS MOTHER, GERTRUDE THOMAS, 489 00:14:03,583 --> 00:14:06,834 WAS A BOOKKEEPER 490 00:14:03,583 --> 00:14:06,834 AND A PROSTITUTE. 491 00:14:06,875 --> 00:14:11,083 - NOW, I DON'T THINK ONE HAS 492 00:14:06,875 --> 00:14:11,083 TO THINK TOO FAR AND TOO LONG 493 00:14:11,125 --> 00:14:13,583 TO IMAGINE WHAT IT WOULD BE LIKE 494 00:14:13,625 --> 00:14:16,166 TO BE THE SON OF A PROSTITUTE. 495 00:14:20,458 --> 00:14:24,208 narrator: BOTH PARENTS 496 00:14:20,458 --> 00:14:24,208 WERE VIOLENT AND ALCOHOLIC. 497 00:14:24,250 --> 00:14:26,375 HIS FATHER RARELY SAW HIM, 498 00:14:26,417 --> 00:14:29,208 AND HIS MOTHER ABANDONED HIM 499 00:14:26,417 --> 00:14:29,208 WHEN HE WAS TEN. 500 00:14:29,250 --> 00:14:32,083 PRYOR WOULD LATER 501 00:14:29,250 --> 00:14:32,083 RECONCILE WITH HER. 502 00:14:32,125 --> 00:14:33,792 [applause] 503 00:14:33,834 --> 00:14:38,250 - SO MY REAL MOTHER 504 00:14:33,834 --> 00:14:38,250 CALLS ME UP ON THE TELEPHONE, 505 00:14:38,291 --> 00:14:40,542 AND SHOCKS ME, MAN, 506 00:14:38,291 --> 00:14:40,542 AND SHE COMES UP, 507 00:14:40,583 --> 00:14:42,125 AND I'M REALLY HAPPY ABOUT IT, 508 00:14:40,583 --> 00:14:42,125 YOU KNOW. 509 00:14:42,166 --> 00:14:43,333 THAT'S MY MOTHER. 510 00:14:43,375 --> 00:14:45,083 - IS SHE HERE? 511 00:14:43,375 --> 00:14:45,083 - COME ON, MOM. 512 00:14:45,125 --> 00:14:47,083 DON'T HIDE YOUR FACE. 513 00:14:47,125 --> 00:14:48,458 RIGHT THERE. 514 00:14:48,500 --> 00:14:50,041 - I DIDN'T KNOW THAT. 515 00:14:50,083 --> 00:14:53,667 [applause] 516 00:14:53,709 --> 00:14:55,834 - SHE'S BEAUTIFUL, MAN, 517 00:14:53,709 --> 00:14:55,834 AND I JUST DON'T KNOW. 518 00:14:55,875 --> 00:14:57,917 SHE USED TO--SHE'S BEEN TRYING 519 00:14:55,875 --> 00:14:57,917 TO GET IN TOUCH WITH ME 520 00:14:57,959 --> 00:15:01,375 AND STUFF LIKE THAT, 521 00:14:57,959 --> 00:15:01,375 AND I DIDN'T EVEN KNOW IT. 522 00:15:02,625 --> 00:15:04,041 narrator: 523 00:15:02,625 --> 00:15:04,041 HIS GRANDMOTHER WOULD BE 524 00:15:04,083 --> 00:15:06,917 HIS SOLE MEANS OF SUPPORT 525 00:15:04,083 --> 00:15:06,917 AS A CHILD. 526 00:15:06,959 --> 00:15:10,625 - RICHARD'S GRANDMOTHER 527 00:15:06,959 --> 00:15:10,625 RAN A BROTHEL, 528 00:15:10,667 --> 00:15:13,625 WHAT RICHARD WOULD CALL 529 00:15:10,667 --> 00:15:13,625 A HO HOUSE. 530 00:15:13,667 --> 00:15:17,083 HIS MOTHER WORKED 531 00:15:13,667 --> 00:15:17,083 IN THE BROTHEL 532 00:15:17,125 --> 00:15:20,667 AS A PROSTITUTE. 533 00:15:20,709 --> 00:15:24,166 RICHARD JUST HAPPENED TO GROW UP 534 00:15:20,709 --> 00:15:24,166 IN ONE OF THOSE MANY BROTHELS. 535 00:15:25,709 --> 00:15:27,834 narrator: PRYOR'S GRANDMOTHER, 536 00:15:25,709 --> 00:15:27,834 MARIE CARTER, 537 00:15:27,875 --> 00:15:29,000 WAS A VIOLENT WOMAN 538 00:15:29,041 --> 00:15:32,208 WHO WOULD BEAT HIM 539 00:15:29,041 --> 00:15:32,208 FOR ANY OF HIS MISCHIEF. 540 00:15:32,250 --> 00:15:34,208 - THE ENVIRONMENT IS ONE, 541 00:15:32,250 --> 00:15:34,208 YOU KNOW, 542 00:15:34,250 --> 00:15:38,667 DEFINED BY ABUSE OF ALL SORTS. 543 00:15:38,709 --> 00:15:41,166 - SELFISHLY, 544 00:15:38,709 --> 00:15:41,166 WE WANTED MORE FROM HIM. 545 00:15:41,208 --> 00:15:43,500 YOU KNOW, 546 00:15:41,208 --> 00:15:43,500 WE BEGAN TO GET IT NOW, 547 00:15:43,542 --> 00:15:47,625 AND YOU WANT SOMEONE 548 00:15:43,542 --> 00:15:47,625 THAT WAS THAT HONEST WITH YOU, 549 00:15:47,667 --> 00:15:49,000 AND NOW THAT IT'S NOT IN, 550 00:15:47,667 --> 00:15:49,000 YOU ALWAYS 551 00:15:49,041 --> 00:15:51,834 MISS THE WATER 552 00:15:49,041 --> 00:15:51,834 WHEN THE WELL IS DRY. 553 00:15:51,875 --> 00:15:53,166 MY NAME IS RASHON KHAN, 554 00:15:53,208 --> 00:15:56,709 AND I'VE BEEN CALLED 555 00:15:53,208 --> 00:15:56,709 RICHARD'S BODYGUARD, 556 00:15:56,750 --> 00:15:59,208 BUT I WOULD LIKE 557 00:15:56,750 --> 00:15:59,208 TO REFER TO IT AS 558 00:15:59,250 --> 00:16:00,709 ONE OF HIS FRIENDS. 559 00:16:00,750 --> 00:16:02,792 THE RICHARD PRYOR STORY, 560 00:16:00,750 --> 00:16:02,792 FOR ME, 561 00:16:02,834 --> 00:16:04,083 BEING TOLD 562 00:16:02,834 --> 00:16:04,083 AND WHO WOULD TELL IT 563 00:16:04,125 --> 00:16:05,834 AND HOW WOULD IT BE TOLD, 564 00:16:05,875 --> 00:16:08,208 BECAUSE IF IT DOESN'T 565 00:16:05,875 --> 00:16:08,208 REFLECT RICHARD'S HONESTY, 566 00:16:08,250 --> 00:16:09,959 IT'S A BULL[bleep] STORY. 567 00:16:11,834 --> 00:16:16,417 FOR HIM TO SAY, "THE MOUTH 568 00:16:11,834 --> 00:16:16,417 THAT WOULD KISS ME GOOD NIGHT 569 00:16:16,458 --> 00:16:18,417 JUST PERFORMED THIS ACT." 570 00:16:18,458 --> 00:16:22,583 JUST TO HAVE THAT THOUGHT 571 00:16:18,458 --> 00:16:22,583 AS A KID, 572 00:16:22,625 --> 00:16:25,625 AND HOW MANY 573 00:16:22,625 --> 00:16:25,625 GOOD NIGHT KISSES DID YOU GET? 574 00:16:25,667 --> 00:16:28,250 HOW MANY ACTS DID YOU SEE? 575 00:16:28,291 --> 00:16:30,959 - SEEING THE ONLY WHITE GUYS 576 00:16:28,291 --> 00:16:30,959 COMING TO YOUR HOUSE 577 00:16:31,000 --> 00:16:33,500 ARE GUYS LOOKING TO GET LAID, 578 00:16:31,000 --> 00:16:33,500 YOU KNOW, 579 00:16:33,542 --> 00:16:34,792 AND BEING A LITTLE KID 580 00:16:34,834 --> 00:16:36,291 AND LOOKING UP 581 00:16:34,834 --> 00:16:36,291 AND SEEING THESE PEOPLE 582 00:16:36,333 --> 00:16:39,166 HAD TO BE TRAUMATIC. 583 00:16:39,208 --> 00:16:40,458 - YOU GOT TO UNDERSTAND, 584 00:16:40,500 --> 00:16:42,917 RICHARD PRYOR 585 00:16:40,500 --> 00:16:42,917 NEVER HAD A NORMAL LIFE. 586 00:16:42,959 --> 00:16:45,709 OF COURSE 587 00:16:42,959 --> 00:16:45,709 IT'S GONNA BE DIFFICULT. 588 00:16:47,583 --> 00:16:50,875 narrator: LIVING IN ONE OF 589 00:16:47,583 --> 00:16:50,875 THE WORST SLUM AREAS IN PEORIA, 590 00:16:50,917 --> 00:16:54,667 YOUNG PRYOR OFTEN FOUND HIMSELF 591 00:16:50,917 --> 00:16:54,667 THE TARGET OF GANGS. 592 00:16:54,709 --> 00:16:58,458 HIS SENSE OF HUMOR 593 00:16:54,709 --> 00:16:58,458 WAS HIS ONLY DEFENSE MECHANISM, 594 00:16:58,500 --> 00:17:00,834 AND PRYOR SOON 595 00:16:58,500 --> 00:17:00,834 DEVELOPED THE REPUTATION 596 00:17:00,875 --> 00:17:03,250 AS A CLASS CUTUP. 597 00:17:03,291 --> 00:17:05,250 HIS DIFFICULT CHILDHOOD 598 00:17:03,291 --> 00:17:05,250 WOULD PROVIDE 599 00:17:05,291 --> 00:17:07,625 A WEALTH OF MATERIAL 600 00:17:05,291 --> 00:17:07,625 HE WOULD LATER MINE 601 00:17:07,667 --> 00:17:10,750 FOR STAND-UP ROUTINES. 602 00:17:10,792 --> 00:17:14,583 - THERE ARE AFTER-HOURS JOINT. 603 00:17:14,625 --> 00:17:18,291 THE COPS 604 00:17:14,625 --> 00:17:18,291 WHO COME IN THESE PLACES 605 00:17:18,333 --> 00:17:19,709 AND THE NUMBERS RUNNERS 606 00:17:19,750 --> 00:17:23,291 AND VARIOUS AND SUNDRY 607 00:17:19,750 --> 00:17:23,291 OTHER INDIVIDUALS 608 00:17:23,333 --> 00:17:25,208 AND THE WAY 609 00:17:23,333 --> 00:17:25,208 IN WHICH THEY SPOKE-- 610 00:17:25,250 --> 00:17:27,000 THESE WERE THE PEOPLE 611 00:17:25,250 --> 00:17:27,000 RICHARD GREW UP AROUND. 612 00:17:27,041 --> 00:17:29,500 THESE WERE THE VOICES 613 00:17:27,041 --> 00:17:29,500 HE HEARD AS A CHILD. 614 00:17:29,542 --> 00:17:31,041 THIS IS THE BLUEPRINT 615 00:17:31,083 --> 00:17:33,917 FOR EVERYTHING 616 00:17:31,083 --> 00:17:33,917 HE WOULD DO GOING FORWARD. 617 00:17:33,959 --> 00:17:38,166 - WITH COMEDY, I ALWAYS 618 00:17:33,959 --> 00:17:38,166 TELL PEOPLE IT'S A STEW. 619 00:17:38,208 --> 00:17:41,250 THAT, FOR THE FIRST 18 YEARS 620 00:17:38,208 --> 00:17:41,250 OF YOUR LIFE, 621 00:17:41,291 --> 00:17:42,542 IT'S SITTING ON THE STOVE, 622 00:17:42,583 --> 00:17:46,208 AND ALL YOUR LIFE EXPERIENCES 623 00:17:42,583 --> 00:17:46,208 GET PUT INTO IT, 624 00:17:46,250 --> 00:17:47,417 AND IT'S BUBBLING, 625 00:17:47,458 --> 00:17:50,458 AND IF IT COOKS 626 00:17:47,458 --> 00:17:50,458 AT THE RIGHT TEMPERATURE-- 627 00:17:50,500 --> 00:17:52,667 YOU KNOW, LIKE, 628 00:17:50,500 --> 00:17:52,667 SOMETIMES IT GETS TOO HIGH, 629 00:17:52,709 --> 00:17:54,250 SOMETIMES IT'S TOO LOW-- 630 00:17:54,291 --> 00:17:58,709 WHAT YOU END UP WITH 631 00:17:54,291 --> 00:17:58,709 AT THE END OF THAT 18 YEARS 632 00:17:58,750 --> 00:18:01,375 OR HOW MANY YEARS 633 00:17:58,750 --> 00:18:01,375 FOR YOUR DEVELOPMENT, 634 00:18:01,417 --> 00:18:04,166 I THINK THAT'S 635 00:18:01,417 --> 00:18:04,166 WHAT MAKES YOU WHO YOU ARE. 636 00:18:08,083 --> 00:18:11,333 narrator: AS A CHILD, PRYOR'S 637 00:18:08,083 --> 00:18:11,333 ESCAPE FROM HIS TROUBLED LIFE 638 00:18:11,375 --> 00:18:13,166 WAS THE SILVER SCREEN. 639 00:18:13,208 --> 00:18:16,333 WHILE SEATED IN THE BLACK-ONLY 640 00:18:13,208 --> 00:18:16,333 SEATS IN LOCAL CINEMAS, 641 00:18:16,375 --> 00:18:18,834 HE ESPECIALLY LOVED WESTERNS, 642 00:18:18,875 --> 00:18:21,667 STIRRING WITHIN THE YOUNG CHILD 643 00:18:21,709 --> 00:18:24,375 A WILD AMBITION 644 00:18:21,709 --> 00:18:24,375 TO BECOME A STAR. 645 00:18:24,417 --> 00:18:26,250 [gunshots] 646 00:18:27,583 --> 00:18:29,583 ANOTHER UNLIKELY HOLLYWOOD ICON 647 00:18:29,625 --> 00:18:32,291 FUELED PRYOR'S PASSION 648 00:18:29,625 --> 00:18:32,291 TO PERFORM. 649 00:18:32,333 --> 00:18:34,041 - MY GRANDMOTHER, 650 00:18:32,333 --> 00:18:34,041 WHEN WE MOVED, 651 00:18:34,083 --> 00:18:36,333 SHE HAD A BUNCH 652 00:18:34,083 --> 00:18:36,333 OF RECORDS UPSTAIRS-- 653 00:18:36,375 --> 00:18:38,000 OLD DORIS DAY RECORDS-- 654 00:18:38,041 --> 00:18:41,000 AND I'D GO UPSTAIRS 655 00:18:38,041 --> 00:18:41,000 AND, YEAH, LISTEN TO THOSE, 656 00:18:41,041 --> 00:18:45,750 AND IMAGINE I WAS IN A PLAY 657 00:18:41,041 --> 00:18:45,750 AND IMAGINE I WAS IN HOLLYWOOD. 658 00:18:49,208 --> 00:18:52,542 - FOR RICHARD, HIS CIRCUMSTANCES 659 00:18:49,208 --> 00:18:52,542 WERE SO DIRE 660 00:18:52,583 --> 00:18:54,458 THAT IT WAS MOTIVATION. 661 00:18:54,500 --> 00:18:56,166 CAN IT GET ANY WORSE? 662 00:18:56,208 --> 00:18:57,333 HOW DO I GET OUT OF HERE? 663 00:18:57,375 --> 00:18:59,250 WELL, IF YOU'RE SOMEONE 664 00:18:57,375 --> 00:18:59,250 WHO'S MOTIVATED, 665 00:18:59,291 --> 00:19:02,500 THAT CAN BE A VERY GOOD, 666 00:18:59,291 --> 00:19:02,500 YOU KNOW, 667 00:19:02,542 --> 00:19:04,333 INSTIGATOR OF CHANGE 668 00:19:02,542 --> 00:19:04,333 IN YOUR LIFE, 669 00:19:04,375 --> 00:19:06,250 AND I THINK FOR RICHARD PRYOR 670 00:19:04,375 --> 00:19:06,250 IT WAS. 671 00:19:06,291 --> 00:19:08,250 [marchers chanting] 672 00:19:08,291 --> 00:19:10,959 narrator: LOOKING TO ESCAPE 673 00:19:08,291 --> 00:19:10,959 THE NEIGHBORHOOD HE GREW UP IN, 674 00:19:11,000 --> 00:19:13,917 PRYOR JOINED THE ARMY 675 00:19:11,000 --> 00:19:13,917 IN 1958. 676 00:19:17,041 --> 00:19:19,792 LIKE BILL COSBY, 677 00:19:17,041 --> 00:19:19,792 PRYOR SAW THE ARMED FORCES 678 00:19:19,834 --> 00:19:22,208 AS AN OPPORTUNITY 679 00:19:19,834 --> 00:19:22,208 OF ADVANCEMENT. 680 00:19:24,041 --> 00:19:26,834 HOWEVER, DUE TO 681 00:19:24,041 --> 00:19:26,834 A RACIALLY CHARGED INCIDENT, 682 00:19:26,875 --> 00:19:30,458 HE SPENT VIRTUALLY THE ENTIRE 683 00:19:26,875 --> 00:19:30,458 TWO YEARS OF HIS ENLISTMENT 684 00:19:30,500 --> 00:19:32,208 IN AN ARMY PRISON IN EUROPE 685 00:19:32,250 --> 00:19:35,709 FOR SLASHING A SOLDIER 686 00:19:32,250 --> 00:19:35,709 WITH A SWITCHBLADE. 687 00:19:39,500 --> 00:19:41,709 UPON HIS DISCHARGE 688 00:19:39,500 --> 00:19:41,709 FROM THE ARMY, 689 00:19:41,750 --> 00:19:43,750 PRYOR GOT HIS FIRST CABARET GIG 690 00:19:43,792 --> 00:19:46,917 AT AN AFRICAN-AMERICAN 691 00:19:43,792 --> 00:19:46,917 NIGHTCLUB IN PEORIA, 692 00:19:46,959 --> 00:19:50,709 WHERE HE SANG 693 00:19:46,959 --> 00:19:50,709 AND PLAYED THE PIANO. 694 00:19:50,750 --> 00:19:53,959 - IN SOME WAYS, 695 00:19:50,750 --> 00:19:53,959 IT SORT OF TAUGHT HIM 696 00:19:54,000 --> 00:19:56,500 A RANGE OF DIFFERENT 697 00:19:54,000 --> 00:19:56,500 SHOW BUSINESS STYLES. 698 00:19:56,542 --> 00:20:00,000 RICHARD'S FROM AN ERA WHEN YOU 699 00:19:56,542 --> 00:20:00,000 MIGHT HAVE TO DO ANYTHING. 700 00:20:00,041 --> 00:20:01,917 MAYBE THAT NIGHT, 701 00:20:00,041 --> 00:20:01,917 YOU NEEDED TO SING. 702 00:20:01,959 --> 00:20:03,875 MAYBE THIS NIGHT, 703 00:20:01,959 --> 00:20:03,875 YOU NEED TO TELL JOKES. 704 00:20:03,917 --> 00:20:07,083 SO YOU HAD TO BE FAMILIAR 705 00:20:03,917 --> 00:20:07,083 WITH ALL THESE THINGS. 706 00:20:07,125 --> 00:20:09,583 narrator: REALIZING THAT 707 00:20:07,125 --> 00:20:09,583 AUDIENCES PREFER HIS JOKES 708 00:20:09,625 --> 00:20:11,458 TO HIS SINGING, 709 00:20:11,500 --> 00:20:13,291 PRYOR BEGAN TO WORK AS A COMIC 710 00:20:13,333 --> 00:20:16,458 IN MIDWESTERN, 711 00:20:13,333 --> 00:20:16,458 ALL-BLACK COMEDY CLUBS. 712 00:20:18,417 --> 00:20:22,417 IN 1963, FUELED BY HIS AMBITION 713 00:20:18,417 --> 00:20:22,417 TO BECOME A STAR, 714 00:20:22,458 --> 00:20:26,875 HE LEFT THE MIDWEST 715 00:20:22,458 --> 00:20:26,875 FOR NEW YORK CITY. 716 00:20:26,917 --> 00:20:29,792 HE WOULD HONE HIS ACT 717 00:20:26,917 --> 00:20:29,792 IN GREENWICH VILLAGE NIGHTCLUBS 718 00:20:29,834 --> 00:20:32,417 ALONGSIDE A YOUNG 719 00:20:29,834 --> 00:20:32,417 GEORGE CARLIN 720 00:20:32,458 --> 00:20:34,000 AND RICHIE HAVENS. 721 00:20:35,583 --> 00:20:37,917 BUT GROWING UP 722 00:20:35,583 --> 00:20:37,917 AS AN AFRICAN-AMERICAN 723 00:20:37,959 --> 00:20:39,750 IN A PEORIA, ILLINOIS, BROTHEL 724 00:20:39,792 --> 00:20:41,709 WOULD BE THE BLUEPRINT 725 00:20:39,792 --> 00:20:41,709 OF A LIFE 726 00:20:41,750 --> 00:20:45,458 RICHARD PRYOR 727 00:20:41,750 --> 00:20:45,458 COULD NEVER ESCAPE. 728 00:20:45,500 --> 00:20:47,458 - IF YOU GROW UP 729 00:20:45,500 --> 00:20:47,458 IN A WHOREHOUSE, 730 00:20:47,500 --> 00:20:50,834 IT'S A PRETTY GOOD CHANCE 731 00:20:47,500 --> 00:20:50,834 THAT, YOU KNOW, 732 00:20:50,875 --> 00:20:53,208 YOU'RE GOING TO BEAR SOME SCARS 733 00:20:50,875 --> 00:20:53,208 OF THAT, YOU KNOW, 734 00:20:53,250 --> 00:20:56,750 AS YOU GROW UP 735 00:20:53,250 --> 00:20:56,750 AND BECOME AN ADULT. 736 00:20:56,792 --> 00:20:58,959 - SO I THINK, 737 00:20:56,792 --> 00:20:58,959 WITH RICHARD PRYOR, 738 00:20:59,000 --> 00:21:03,709 HE WAS THE ALCHEMIST 739 00:20:59,000 --> 00:21:03,709 THAT WAS ABLE TO TRANSFORM 740 00:21:03,750 --> 00:21:08,375 ALL OF THE TRAGEDY 741 00:21:03,750 --> 00:21:08,375 INTO A--INTO A DRINK 742 00:21:08,417 --> 00:21:11,417 THAT EVERYBODY 743 00:21:08,417 --> 00:21:11,417 WANTED A SIP OF. 744 00:21:14,417 --> 00:21:16,625 narrator: AFTER WALKING OFF 745 00:21:14,417 --> 00:21:16,625 THE STAGE IN LAS VEGAS 746 00:21:16,667 --> 00:21:19,083 IN SEPTEMBER OF 1967, 747 00:21:19,125 --> 00:21:23,458 RICHARD PRYOR FOUND HIMSELF 748 00:21:19,125 --> 00:21:23,458 BANNED FROM MANY NIGHTCLUBS, 749 00:21:23,500 --> 00:21:27,542 ALLEGEDLY DUE TO OFFENDING THE 750 00:21:23,500 --> 00:21:27,542 MOB-CONNECTED NIGHTCLUB OWNERS. 751 00:21:27,583 --> 00:21:29,333 - NOBODY WALKS OUT 752 00:21:27,583 --> 00:21:29,333 ON DEAN MARTIN 753 00:21:29,375 --> 00:21:31,583 AND THESE BIG GUYS, AND ALL 754 00:21:29,375 --> 00:21:31,583 THESE PEOPLE IN THE AUDIENCE. 755 00:21:31,625 --> 00:21:33,041 - BACK THEN, IT WAS IN VARIETY, 756 00:21:33,083 --> 00:21:35,208 AND IN VEGAS, THEY WERE LIKE, 757 00:21:33,083 --> 00:21:35,208 "WE DON'T WANT HIM." 758 00:21:40,125 --> 00:21:42,333 narrator: 759 00:21:40,125 --> 00:21:42,333 NOW BROKE, HE HITCHED A RIDE 760 00:21:42,375 --> 00:21:43,583 TO BERKELEY, CALIFORNIA. 761 00:21:43,625 --> 00:21:46,041 - TO TAKE THAT AND LEAVE, 762 00:21:46,083 --> 00:21:48,333 KNOWING THAT THAT WAS 763 00:21:46,083 --> 00:21:48,333 THE WAY YOU MADE YOUR LIVING, 764 00:21:48,375 --> 00:21:51,583 AND JUST SAID, 765 00:21:48,375 --> 00:21:51,583 "I'M NOT DOING THIS," 766 00:21:51,625 --> 00:21:55,625 AND GO AND FIND YOURSELF 767 00:21:51,625 --> 00:21:55,625 WITH VERY LITTLE MONEY. 768 00:21:58,125 --> 00:21:59,667 narrator: 769 00:21:58,125 --> 00:21:59,667 PRYOR WAS IN THE EPICENTER 770 00:21:59,709 --> 00:22:02,417 OF THE AMERICAN COUNTERCULTURE. 771 00:22:02,458 --> 00:22:03,583 - FREE SPEECH MOVEMENT. 772 00:22:03,625 --> 00:22:05,834 THE SDS MOVEMENT AT BERKELEY, 773 00:22:05,875 --> 00:22:08,208 AND THEN, LATER, 774 00:22:05,875 --> 00:22:08,208 THE BLACK PANTHER PARTY. 775 00:22:08,250 --> 00:22:11,375 - YOU HAD THE WHITES 776 00:22:08,250 --> 00:22:11,375 PROTESTING THE WAR IN VIETNAM. 777 00:22:11,417 --> 00:22:14,375 - AND IT'S THE HEIGHT OF, 778 00:22:11,417 --> 00:22:14,375 SORT OF, RACIAL CONFLICT, 779 00:22:14,417 --> 00:22:16,750 ATTEMPTS AT ENDING 780 00:22:14,417 --> 00:22:16,750 RACIAL SEGREGATION IN THE SOUTH, 781 00:22:16,792 --> 00:22:19,250 THE PASSING 782 00:22:16,792 --> 00:22:19,250 OF THE CIVIL RIGHTS ACT 783 00:22:19,291 --> 00:22:20,959 FOLLOWED BY 784 00:22:19,291 --> 00:22:20,959 THE VOTING RIGHTS ACT-- 785 00:22:21,000 --> 00:22:23,542 A VERY POLITICALLY CHARGED ERA. 786 00:22:23,583 --> 00:22:25,125 - IN ADDITION TO THAT, 787 00:22:25,166 --> 00:22:28,166 YOU HAD THE RESURGENCE OF DRUGS. 788 00:22:30,166 --> 00:22:32,000 - RICHARD'S IN THE MIDST 789 00:22:30,166 --> 00:22:32,000 OF ALL THIS. 790 00:22:32,041 --> 00:22:33,834 IT'S IMPOSSIBLE TO BE THERE 791 00:22:33,875 --> 00:22:36,834 AND NOT BE TOUCHED 792 00:22:33,875 --> 00:22:36,834 BY THESE THINGS. 793 00:22:36,875 --> 00:22:41,417 HE MEETS HUEY P. NEWTON, 794 00:22:36,875 --> 00:22:41,417 HEAD OF THE BLACK PANTHER PARTY. 795 00:22:41,458 --> 00:22:43,917 RICHARD TALKS ABOUT READING 796 00:22:41,458 --> 00:22:43,917 THE AUTOBIOGRAPHY OF MALCOLM X 797 00:22:43,959 --> 00:22:45,417 AND HOW MUCH 798 00:22:43,959 --> 00:22:45,417 THAT INFLUENCED HIM. 799 00:22:45,458 --> 00:22:49,041 - YOU COULDN'T SEPARATE RICHARD 800 00:22:45,458 --> 00:22:49,041 FROM THE TIMES. 801 00:22:49,083 --> 00:22:51,125 - I THINK 802 00:22:49,083 --> 00:22:51,125 WHAT RICHARD EXPERIENCED 803 00:22:51,166 --> 00:22:52,750 WAS, IN SOME WAYS, 804 00:22:51,166 --> 00:22:52,750 A KIND OF, LIKE, 805 00:22:52,792 --> 00:22:55,917 A SPIRITUAL CONVERSION. 806 00:22:55,959 --> 00:22:59,834 HE, YOU KNOW, REALIZED 807 00:22:55,959 --> 00:22:59,834 WHO HE HAD BEEN, 808 00:22:59,875 --> 00:23:01,542 AN IMITATOR, 809 00:23:01,583 --> 00:23:04,417 SOMEONE WHO WAS VERY GOOD 810 00:23:01,583 --> 00:23:04,417 AT IMITATING OTHER PEOPLE, 811 00:23:04,458 --> 00:23:06,041 BUT WHEN YOU'RE IMITATING 812 00:23:04,458 --> 00:23:06,041 OTHER PEOPLE, 813 00:23:06,083 --> 00:23:08,041 YOU'RE NOT BEING 814 00:23:06,083 --> 00:23:08,041 YOUR TRUE SELF. 815 00:23:09,542 --> 00:23:12,583 narrator: WHILE AT BERKELEY, 816 00:23:09,542 --> 00:23:12,583 PRYOR CAME TO THE REALIZATION 817 00:23:12,625 --> 00:23:14,375 THAT HE COULDN'T SIT 818 00:23:12,625 --> 00:23:14,375 ON THE SIDELINE 819 00:23:14,417 --> 00:23:17,792 AND WATCH THE SOCIAL AND RACIAL 820 00:23:14,417 --> 00:23:17,792 INEQUALITY THAT SURROUNDED HIM 821 00:23:17,834 --> 00:23:21,625 CONTINUE UNOPPOSED. 822 00:23:21,667 --> 00:23:23,542 HE NEEDED TO BE INVOLVED. 823 00:23:23,583 --> 00:23:26,959 HE NEEDED TO MAKE A DIFFERENCE 824 00:23:23,583 --> 00:23:26,959 WITH HIS COMEDY. 825 00:23:28,333 --> 00:23:30,583 - YOU EVER NOTICE 826 00:23:28,333 --> 00:23:30,583 HOW NICE WHITE PEOPLE GET 827 00:23:30,625 --> 00:23:33,542 WHEN THERE'S 828 00:23:30,625 --> 00:23:33,542 A BUNCH OF NIGGAS AROUND? 829 00:23:33,583 --> 00:23:35,625 RIGHT? THEY GET OUTSIDE. 830 00:23:33,583 --> 00:23:35,625 THEY TALK TO EVERYBODY. 831 00:23:35,667 --> 00:23:38,625 RIGHT? 832 00:23:35,667 --> 00:23:38,625 THEY SAY, "HI, HOW YOU DOING? 833 00:23:38,667 --> 00:23:42,542 I DON'T KNOW YOU, 834 00:23:38,667 --> 00:23:42,542 BUT HERE'S MY WIFE. HELLO!" 835 00:23:42,583 --> 00:23:44,709 narrator: WHILE ON SABBATICAL 836 00:23:42,583 --> 00:23:44,709 IN BERKELEY, 837 00:23:44,750 --> 00:23:47,792 RICHARD PRYOR 838 00:23:44,750 --> 00:23:47,792 FINDS HIS VOICE. 839 00:23:47,834 --> 00:23:49,333 - WELL, THIS IS 840 00:23:47,834 --> 00:23:49,333 FUN PART FOR ME, 841 00:23:49,375 --> 00:23:51,083 WHEN THE WHITE PEOPLE COME BACK 842 00:23:49,375 --> 00:23:51,083 AFTER INTERMISSION 843 00:23:51,125 --> 00:23:54,625 AND FIND OUT NIGGAS 844 00:23:51,125 --> 00:23:54,625 DONE STOLE THEIR SEATS. 845 00:23:54,667 --> 00:23:56,041 YOU NIGGAS TAKING A CHANCE 846 00:23:56,083 --> 00:23:59,333 BEING IN LONG BEACH, 847 00:23:56,083 --> 00:23:59,333 THOUGH, JACK. 848 00:23:59,375 --> 00:24:01,750 I SAW THE POLICE 849 00:23:59,375 --> 00:24:01,750 HAD SOME BROTHER JACKED UP 850 00:24:01,792 --> 00:24:02,625 WHEN WE WAS COMING IN HERE. 851 00:24:02,667 --> 00:24:03,959 NIGGA'S HANDS WAY UP HERE, 852 00:24:04,000 --> 00:24:05,959 TALKING 'BOUT, 853 00:24:04,000 --> 00:24:05,959 "HUH? WHAT?" 854 00:24:06,000 --> 00:24:08,208 AND THEY'RE SEARCHING 855 00:24:06,000 --> 00:24:08,208 AND [bleep]. 856 00:24:08,250 --> 00:24:10,750 BET THEY TAKE HIM AWAY TO JAIL. 857 00:24:12,000 --> 00:24:13,583 - WHEN HE CAME TO BERKELEY, 858 00:24:13,625 --> 00:24:15,709 HE SAID HE WANT TO DO SOMETHING 859 00:24:13,625 --> 00:24:15,709 COMPLETELY DIFFERENT, 860 00:24:15,750 --> 00:24:19,667 OTHERWISE HE WAS GONNA FINISH 861 00:24:15,750 --> 00:24:19,667 WITH DOING COMEDY. 862 00:24:19,709 --> 00:24:21,667 - THERE WAS TIMES 863 00:24:19,709 --> 00:24:21,667 I HAD TO THROW MY WHOLE ACT AWAY 864 00:24:21,709 --> 00:24:23,458 AND SAY, "YOU KNOW, 865 00:24:21,709 --> 00:24:23,458 I'MA DO THIS-- 866 00:24:23,500 --> 00:24:25,583 "I'M GONNA DO MY MATERIAL 867 00:24:23,500 --> 00:24:25,583 THE WAY I--THIS IS MY LIFE. 868 00:24:25,625 --> 00:24:27,041 "THIS IS WHAT I DIG. 869 00:24:27,083 --> 00:24:28,917 THIS IS WHAT IT WAS 870 00:24:27,083 --> 00:24:28,917 BEFORE SHOW BUSINESS." 871 00:24:28,959 --> 00:24:30,542 - AND WHAT HE DID IN BERKELEY-- 872 00:24:30,583 --> 00:24:31,875 WAS COMPLETELY DIFFERENT-- 873 00:24:31,917 --> 00:24:35,583 WAS TO INVOKE 874 00:24:31,917 --> 00:24:35,583 ALL OF THOSE TABOO SUBJECTS 875 00:24:35,625 --> 00:24:39,500 LIKE RACE, SEX, POVERTY-- 876 00:24:39,542 --> 00:24:42,041 ALL THE THINGS HE COULDN'T 877 00:24:39,542 --> 00:24:42,041 TALK ABOUT ON TELEVISION. 878 00:24:42,083 --> 00:24:44,709 - I REMEMBER THINKING 879 00:24:42,083 --> 00:24:44,709 THAT WAS GOOD, 880 00:24:44,750 --> 00:24:48,083 YOU KNOW, BECAUSE I THINK COMICS 881 00:24:44,750 --> 00:24:48,083 ARE MOSTLY ANARCHISTS. 882 00:24:48,125 --> 00:24:49,709 YOU KNOW, I'M ALL FOR ANARCHY 883 00:24:49,750 --> 00:24:51,959 AS LONG AS I CAN KEEP 884 00:24:49,750 --> 00:24:51,959 ROOM SERVICE. 885 00:24:53,542 --> 00:24:57,041 narrator: PRYOR LEFT BERKELEY 886 00:24:53,542 --> 00:24:57,041 WITH A REJUVENATED CAREER. 887 00:24:57,083 --> 00:24:58,542 - I THINK HIS CAREER WAS OVER 888 00:24:58,583 --> 00:25:00,500 WHEN HE WALKED OFF 889 00:24:58,583 --> 00:25:00,500 THE STAGE OF THE ALADDIN, 890 00:25:00,542 --> 00:25:04,333 BUT THAT CAREER 891 00:25:00,542 --> 00:25:04,333 HE WANTED TO BE OVER. 892 00:25:04,375 --> 00:25:07,000 I THINK A NEW RICHARD PRYOR 893 00:25:04,375 --> 00:25:07,000 WAS BORN, 894 00:25:07,041 --> 00:25:09,291 AND I THINK ALL THOSE PEOPLE 895 00:25:09,333 --> 00:25:11,458 THAT WERE MAD 896 00:25:09,333 --> 00:25:11,458 BECAUSE HE WALKED OFF-- 897 00:25:11,500 --> 00:25:13,667 I THINK THEY'D 898 00:25:11,500 --> 00:25:13,667 NEVER BOOK HIM AGAIN 899 00:25:13,709 --> 00:25:17,542 UNTIL THEY WERE MADE 900 00:25:13,709 --> 00:25:17,542 TO BOOK HIM AGAIN 901 00:25:17,583 --> 00:25:21,583 BECAUSE HIS POPULARITY 902 00:25:17,583 --> 00:25:21,583 HAD SUPERSEDED THEIR PREJUDICE, 903 00:25:21,625 --> 00:25:25,041 YOU KNOW, THEIR IGNORANCE 904 00:25:21,625 --> 00:25:25,041 AND THEIR STUPIDITY, 905 00:25:25,083 --> 00:25:29,417 BECAUSE RICHARD PRYOR 906 00:25:25,083 --> 00:25:29,417 BECAME A MAN THAT DAY, 907 00:25:29,458 --> 00:25:34,625 A COMIC'S COMIC, YOU KNOW, 908 00:25:29,458 --> 00:25:34,625 A COMEDY GENIUS. 909 00:25:34,667 --> 00:25:37,625 - HE HIT ROCK BOTTOM 910 00:25:34,667 --> 00:25:37,625 WITH NO MONEY 911 00:25:37,667 --> 00:25:40,375 AND HAD WHITE GIRLFRIENDS 912 00:25:37,667 --> 00:25:40,375 IN BERKELEY 913 00:25:40,417 --> 00:25:42,375 AND HUNG OUT 914 00:25:40,417 --> 00:25:42,375 WITH THE BLACK PANTHERS, 915 00:25:42,417 --> 00:25:45,542 AND THEN CAME BACK 916 00:25:42,417 --> 00:25:45,542 RICHARD PRYOR. 917 00:25:45,583 --> 00:25:47,750 - AND ONCE RICHARD 918 00:25:45,583 --> 00:25:47,750 DISCOVERED HIS VOICE, 919 00:25:47,792 --> 00:25:49,291 THE GENIE WAS OUT OF THE BOTTLE, 920 00:25:49,333 --> 00:25:51,291 AND HE WAS NOT GOING BACK IN. 921 00:25:52,625 --> 00:25:53,875 narrator: 922 00:25:52,625 --> 00:25:53,875 THE NEW RICHARD PRYOR 923 00:25:53,917 --> 00:25:57,041 WAS GOING TO WAR 924 00:25:53,917 --> 00:25:57,041 WITH THE STATUS QUO. 925 00:25:57,083 --> 00:25:59,208 - YEAH, TWO GRAB YOUR LEGS, 926 00:25:57,083 --> 00:25:59,208 ONE GRAB YOUR HEAD, 927 00:25:59,250 --> 00:26:03,417 THEY'LL SNAP-- 928 00:25:59,250 --> 00:26:03,417 "OH, [bleep], HE BROKE. 929 00:26:03,458 --> 00:26:05,083 "CAN YOU BREAK A NIGGA? 930 00:26:03,458 --> 00:26:05,083 IS IT OKAY? 931 00:26:05,125 --> 00:26:06,834 "LET'S CHECK THE MANUAL. 932 00:26:05,125 --> 00:26:06,834 YEP, PAGE EIGHT. 933 00:26:06,875 --> 00:26:10,250 'YOU CAN BREAK A NIGGA,' 934 00:26:06,875 --> 00:26:10,250 RIGHT THERE." 935 00:26:10,291 --> 00:26:14,542 narrator: AND HIS WEAPON 936 00:26:10,291 --> 00:26:14,542 OF CHOICE WAS HIS VOCABULARY. 937 00:26:14,583 --> 00:26:17,000 - THE POINT WAS TO USE 938 00:26:14,583 --> 00:26:17,000 THE LANGUAGE AS A WEAPON, 939 00:26:17,041 --> 00:26:19,458 TO USE THE LANGUAGE 940 00:26:17,041 --> 00:26:19,458 TO DRAW ATTENTION 941 00:26:19,500 --> 00:26:22,875 TO, YOU KNOW, 942 00:26:19,500 --> 00:26:22,875 THESE LARGER SOCIAL ISSUES, 943 00:26:22,917 --> 00:26:24,959 AND, YOU KNOW, 944 00:26:22,917 --> 00:26:24,959 AS IS OFTEN THE CASE, 945 00:26:25,000 --> 00:26:27,458 A LOT OF TRUTH IS SAID IN JEST. 946 00:26:27,500 --> 00:26:29,750 - THE WORD "NIGGA" 947 00:26:27,500 --> 00:26:29,750 IS NOT A PERSON. 948 00:26:29,792 --> 00:26:32,917 IT'S A PERSONALITY, 949 00:26:32,959 --> 00:26:34,709 AND THAT'S WHAT 950 00:26:32,959 --> 00:26:34,709 HE WAS TALKING ABOUT. 951 00:26:34,750 --> 00:26:36,041 RICHARD PRYOR SAID, 952 00:26:36,083 --> 00:26:38,542 "THE WORD NIGGA DESCRIBES 953 00:26:36,083 --> 00:26:38,542 OUR OWN WRETCHEDNESS." 954 00:26:43,333 --> 00:26:45,750 - I THINK 955 00:26:43,333 --> 00:26:45,750 HE WAS SPEAKING THE SPEAK 956 00:26:45,792 --> 00:26:48,000 HE HEARD IN HIS HEAD, 957 00:26:48,041 --> 00:26:50,500 AND I THINK 958 00:26:48,041 --> 00:26:50,500 IT WAS AUTHENTIC TO HIM, 959 00:26:50,542 --> 00:26:52,166 BUT I DON'T THINK 960 00:26:50,542 --> 00:26:52,166 IT WAS VULGAR. 961 00:26:52,208 --> 00:26:53,834 I DON'T THINK 962 00:26:52,208 --> 00:26:53,834 HE WAS TRYING TO BE VULGAR. 963 00:26:53,875 --> 00:26:55,917 I DON'T THINK 964 00:26:53,875 --> 00:26:55,917 HE WAS TRYING TO SHOCK ANYONE. 965 00:26:55,959 --> 00:26:59,750 I THINK HE PROBABLY SPOKE 966 00:26:55,959 --> 00:26:59,750 LIKE THAT ALL THE TIME. 967 00:26:59,792 --> 00:27:03,291 - YOU KNOW, PLANNED PROFANITY 968 00:26:59,792 --> 00:27:03,291 IS NOT COMEDY. 969 00:27:03,333 --> 00:27:06,834 YOU KNOW, THERE'S A SPONTANEITY 970 00:27:06,875 --> 00:27:08,792 THAT IT JUST SLIDES IN. 971 00:27:08,834 --> 00:27:10,917 IT JUST--IT JUST IS, 972 00:27:10,959 --> 00:27:13,041 AND IT'S NOT PLANNED. 973 00:27:13,083 --> 00:27:14,417 - BUT RICHARD, WHEN HE DID IT, 974 00:27:14,458 --> 00:27:15,750 THERE WAS SOME SUBSTANCE THERE. 975 00:27:15,792 --> 00:27:16,875 THERE WAS A MEANING 976 00:27:16,917 --> 00:27:19,375 AND A REASON WHY HE USED IT. 977 00:27:19,417 --> 00:27:22,583 - THERE'S A FILTER 978 00:27:19,417 --> 00:27:22,583 OF FRUSTRATION IN THE PROJECTS. 979 00:27:22,625 --> 00:27:24,917 POVERTY, FRUSTRATION-- 980 00:27:22,625 --> 00:27:24,917 IT'S A POWDER KEG. 981 00:27:24,959 --> 00:27:26,709 THAT'S WHERE IT COMES FROM. 982 00:27:26,750 --> 00:27:28,417 PEOPLE USE THOSE WORDS 983 00:27:28,458 --> 00:27:31,625 WHEN THERE'S FRUSTRATION 984 00:27:28,458 --> 00:27:31,625 AND ALL THAT AND POVERTY. 985 00:27:31,667 --> 00:27:35,625 I'M FROM THAT. 986 00:27:31,667 --> 00:27:35,625 RICHARD WAS FROM THAT. 987 00:27:35,667 --> 00:27:38,375 - BLACK FUNERALS ARE DIFFERENT 988 00:27:35,667 --> 00:27:38,375 THAN WHITE FUNERALS, RIGHT? 989 00:27:38,417 --> 00:27:40,625 BLACK PEOPLE LET IT HANG OUT 990 00:27:38,417 --> 00:27:40,625 AT THE FUNERAL. 991 00:27:40,667 --> 00:27:44,125 THEY DON'T CARE, THEY'RE-- 992 00:27:40,667 --> 00:27:44,125 WAH! 993 00:27:44,166 --> 00:27:49,041 [wailing] 994 00:27:49,083 --> 00:27:52,333 TAKE ME, GOD, 995 00:27:49,083 --> 00:27:52,333 TAKE ME, TAKE ME, TAKE ME. 996 00:27:52,375 --> 00:27:54,750 RIGHT, AND THEN THEY FALL 997 00:27:52,375 --> 00:27:54,750 ALL ON YOUR ASS. 998 00:27:54,792 --> 00:27:56,834 RIGHT, IT'S LIKE, 999 00:27:54,792 --> 00:27:56,834 "GODDAMN, BABY. 1000 00:27:56,875 --> 00:27:58,792 GET YOUR BIG ASS UP." 1001 00:28:00,417 --> 00:28:02,750 narrator: PRYOR'S NEW ACT 1002 00:28:00,417 --> 00:28:02,750 WAS A POTENT MIX 1003 00:28:02,792 --> 00:28:04,125 OF COLORFUL EPITHETS, 1004 00:28:04,166 --> 00:28:07,375 PAINFULLY ACCURATE CHARACTER 1005 00:28:04,166 --> 00:28:07,375 STUDIES OF STREET TYPES, 1006 00:28:07,417 --> 00:28:12,250 AND HILARIOUS HOSTILITY 1007 00:28:07,417 --> 00:28:12,250 OF BLACK-WHITE INEQUITIES. 1008 00:28:12,291 --> 00:28:14,792 - WHEN YOU WAS IN HIS WORLD, 1009 00:28:12,291 --> 00:28:14,792 IT WAS A CIRCUS, 1010 00:28:14,834 --> 00:28:16,333 AND HE TALKED ABOUT IT. 1011 00:28:16,375 --> 00:28:19,333 THE GOOD, THE BAD, 1012 00:28:16,375 --> 00:28:19,333 AND THE UGLY. 1013 00:28:21,500 --> 00:28:23,041 - BUT REALLY, WHAT HE'S DOING 1014 00:28:23,083 --> 00:28:26,542 IS THE SAME THING CATS STANDING 1015 00:28:23,083 --> 00:28:26,542 ON THE STREET CORNER ARE DOING, 1016 00:28:26,583 --> 00:28:30,291 CATS IN THE POOL HALL ARE DOING, 1017 00:28:26,583 --> 00:28:30,291 CATS ON THE BANDSTAND ARE DOING. 1018 00:28:30,333 --> 00:28:32,083 THIS IS ALL HE'S DOING. 1019 00:28:32,125 --> 00:28:33,959 HE'S THE MOUTHPIECE, 1020 00:28:34,000 --> 00:28:39,125 BUT NOW, THIS WAY OF SPEAKING 1021 00:28:39,166 --> 00:28:42,250 CAN BE EXPRESSED 1022 00:28:39,166 --> 00:28:42,250 IN THE PUBLIC, 1023 00:28:42,291 --> 00:28:45,625 WHEREAS BEFORE, 1024 00:28:42,291 --> 00:28:45,625 IT WAS PRIVATE. 1025 00:28:48,000 --> 00:28:49,875 narrator: 1026 00:28:48,000 --> 00:28:49,875 PRYOR HAD STRUCK A RAW NERVE 1027 00:28:49,917 --> 00:28:52,959 IN THE PART OF AMERICA 1028 00:28:49,917 --> 00:28:52,959 THAT WAS STILL LIVING IN DENIAL 1029 00:28:53,000 --> 00:28:55,291 OVER ITS PREJUDICES. 1030 00:28:55,333 --> 00:28:57,166 - SO THE REASON PEOPLE ARE UPSET 1031 00:28:57,208 --> 00:28:59,125 IS BECAUSE 1032 00:28:57,208 --> 00:28:59,125 THESE PRIVATE CONVERSATIONS 1033 00:28:59,166 --> 00:29:02,166 THAT BLACK PEOPLE WERE HAVING 1034 00:28:59,166 --> 00:29:02,166 AMONGST THEMSELF 1035 00:29:02,208 --> 00:29:05,333 WERE NOW BEING BROADCAST 1036 00:29:02,208 --> 00:29:05,333 THROUGH THE PUBLIC. 1037 00:29:05,375 --> 00:29:07,417 RICHARD WAS LIKE THE MEGAPHONE. 1038 00:29:07,458 --> 00:29:11,041 - NOW, THAT MIGHT NOT 1039 00:29:07,458 --> 00:29:11,041 MAKE PEOPLE COMFORTABLE, 1040 00:29:11,083 --> 00:29:13,500 BUT THAT WAS RICHARD, 1041 00:29:11,083 --> 00:29:13,500 AND RICH WAS LIKE, 1042 00:29:13,542 --> 00:29:15,917 "WELL, THIS IS WHERE 1043 00:29:13,542 --> 00:29:15,917 THE [bleep] I'M FROM. 1044 00:29:15,959 --> 00:29:18,166 "THIS IS WHAT I'VE BEEN THROUGH. 1045 00:29:15,959 --> 00:29:18,166 THIS IS MY LIFE. 1046 00:29:18,208 --> 00:29:19,750 I'M GONNA TELL IT." 1047 00:29:19,792 --> 00:29:23,000 narrator: 1048 00:29:19,792 --> 00:29:23,000 AND AUDIENCES ATE IT UP. 1049 00:29:23,041 --> 00:29:24,417 - YOU COULD DISAGREE WITH IT, 1050 00:29:24,458 --> 00:29:25,959 BUT YOU COULDN'T IGNORE IT. 1051 00:29:26,000 --> 00:29:29,583 HE MADE IT SO THAT YOU HAD 1052 00:29:26,000 --> 00:29:29,583 TO DEAL WITH THESE IDEAS 1053 00:29:29,625 --> 00:29:33,125 THAT, OTHERWISE, PEOPLE WOULD 1054 00:29:29,625 --> 00:29:33,125 PREFER TO SWEEP UNDER THE RUG. 1055 00:29:33,166 --> 00:29:35,083 HE WAS SO IN-YOUR-FACE, 1056 00:29:33,166 --> 00:29:35,083 HE WAS SO BLUNT, 1057 00:29:35,125 --> 00:29:37,875 HE WAS SO DIRECT, BUT THAT'S 1058 00:29:35,125 --> 00:29:37,875 PART OF THE POLITICS-- 1059 00:29:37,917 --> 00:29:40,959 TO FORCE PEOPLE TO DEAL WITH IT 1060 00:29:37,917 --> 00:29:40,959 ONE WAY OR THE OTHER. 1061 00:29:41,000 --> 00:29:44,125 narrator: MUCH TO THE SURPRISE 1062 00:29:41,000 --> 00:29:44,125 OF RECORD EXECUTIVES, 1063 00:29:44,166 --> 00:29:46,375 PRYOR'S CAREER SOARED. 1064 00:29:46,417 --> 00:29:48,667 AFRICAN-AMERICAN AUDIENCES 1065 00:29:46,417 --> 00:29:48,667 LOVED HIM, 1066 00:29:48,709 --> 00:29:52,417 BUT WHITE AUDIENCES 1067 00:29:48,709 --> 00:29:52,417 PURCHASED HIS ALBUMS AS WELL. 1068 00:29:52,458 --> 00:29:53,417 - YOU TELL THEM THE TITLE 1069 00:29:52,458 --> 00:29:53,417 OF THE ALBUM. 1070 00:29:53,458 --> 00:29:54,458 I CAN'T SAY THAT. 1071 00:29:54,500 --> 00:29:55,917 THE TITLE OF THE ALBUM IS... 1072 00:29:55,959 --> 00:29:58,959 - MY DADDY-- 1073 00:29:55,959 --> 00:29:58,959 - THAT NIGGA'S CRAZY. 1074 00:29:59,000 --> 00:30:02,250 AND THEN DON'T 1075 00:29:59,000 --> 00:30:02,250 THAT NIGGA LOOK CRAZY? 1076 00:30:02,291 --> 00:30:03,875 THAT IS ONE CRAZY NIGGA. 1077 00:30:03,917 --> 00:30:06,834 - WELL, DON'T YOU GET--SEE, NOW, 1078 00:30:03,917 --> 00:30:06,834 YOU CAN JUST SAY THAT, AND... 1079 00:30:06,875 --> 00:30:08,000 - YEAH, WELL, LOOK. 1080 00:30:08,041 --> 00:30:09,291 - IF I SAID THAT, 1081 00:30:08,041 --> 00:30:09,291 WOULDN'T YOU GET MAD? 1082 00:30:09,333 --> 00:30:12,083 - I'D PUNCH YOU OUT. 1083 00:30:09,333 --> 00:30:12,083 [laughs] 1084 00:30:12,125 --> 00:30:13,125 [cheers and applause] 1085 00:30:13,166 --> 00:30:15,417 - BEFORE RICHARD PRYOR, 1086 00:30:13,166 --> 00:30:15,417 NO RAPPER 1087 00:30:15,458 --> 00:30:19,667 OR NO ONE COULD PUBLICLY 1088 00:30:15,458 --> 00:30:19,667 USE THE LANGUAGE 1089 00:30:19,709 --> 00:30:24,625 THAT JAY Z AND OTHERS HAVE USED 1090 00:30:19,709 --> 00:30:24,625 TO MAKE THEMSELVES MILLIONAIRES. 1091 00:30:24,667 --> 00:30:28,000 BEFORE RICHARD PRYOR, 1092 00:30:24,667 --> 00:30:28,000 NO ONE COULD EVEN BEGIN 1093 00:30:28,041 --> 00:30:31,542 TO USE LANGUAGE 1094 00:30:28,041 --> 00:30:31,542 IN THE WAY THAT RAPPERS DO. 1095 00:30:31,583 --> 00:30:35,417 RICHARD WAS THE PIONEER 1096 00:30:31,583 --> 00:30:35,417 ON THAT LEVEL. 1097 00:30:37,166 --> 00:30:38,333 narrator: 1098 00:30:37,166 --> 00:30:38,333 LOCKED AND LOADED 1099 00:30:38,375 --> 00:30:40,875 WITH THE MOST CONTROVERSIAL 1100 00:30:38,375 --> 00:30:40,875 AND PROFANE ACT 1101 00:30:40,917 --> 00:30:42,250 IN STAND-UP COMEDY, 1102 00:30:42,291 --> 00:30:45,542 RICHARD PRYOR IS 1103 00:30:42,291 --> 00:30:45,542 ON THE FAST TRACK TO STARDOM. 1104 00:30:45,583 --> 00:30:47,792 - HE BROUGHT 1105 00:30:45,583 --> 00:30:47,792 BLACK AND WHITE AUDIENCES 1106 00:30:47,834 --> 00:30:52,667 INTO THE SAME ARENA, 1107 00:30:47,834 --> 00:30:52,667 SITTING NEXT TO EACH OTHER, 1108 00:30:52,709 --> 00:30:55,417 WHILE HE DID IMPRESSIONS 1109 00:30:52,709 --> 00:30:55,417 OF WHITE PEOPLE, 1110 00:30:55,458 --> 00:30:57,291 AND NOT TOO MANY PEOPLE 1111 00:30:57,333 --> 00:30:59,792 HAD DONE IMPRESSIONS 1112 00:30:57,333 --> 00:30:59,792 OF WHITE PEOPLE AT THE TIME, 1113 00:30:59,834 --> 00:31:04,375 AND IT WAS 1114 00:30:59,834 --> 00:31:04,375 A VERY, VERY FUNNY THING. 1115 00:31:04,417 --> 00:31:08,041 - YEAH, COME ON, PECKER-HEAD. 1116 00:31:08,083 --> 00:31:12,583 SON OF A BITCH, COME ON. 1117 00:31:16,458 --> 00:31:18,417 narrator: 1118 00:31:16,458 --> 00:31:18,417 PRYOR GOES ON MULTIPLE TOURS 1119 00:31:18,458 --> 00:31:21,083 WHILE RELEASING A SERIES 1120 00:31:18,458 --> 00:31:21,083 OF GRAMMY-WINNING ALBUMS 1121 00:31:21,125 --> 00:31:23,000 THAT GO PLATINUM IN SALES. 1122 00:31:24,375 --> 00:31:26,375 - HE JUST CHANGED THE WORLD, 1123 00:31:26,417 --> 00:31:28,458 AND IF YOU DIDN'T HAVE 1124 00:31:26,417 --> 00:31:28,458 A RICHARD PRYOR ALBUM, 1125 00:31:28,500 --> 00:31:30,959 YOU HAD--YOU SHOULDN'T BE 1126 00:31:28,500 --> 00:31:30,959 IN COMEDY. 1127 00:31:31,000 --> 00:31:33,875 I MEAN, YOU SHOULD LISTEN 1128 00:31:31,000 --> 00:31:33,875 TO THOSE ALBUMS TODAY, 1129 00:31:33,917 --> 00:31:36,041 AND THEY'LL STILL 1130 00:31:33,917 --> 00:31:36,041 MAKE YOU LAUGH. 1131 00:31:36,083 --> 00:31:37,375 - I MEAN, HIS ALBUMS ARE, LIKE, 1132 00:31:37,417 --> 00:31:40,000 THE MOST POPULAR THING 1133 00:31:37,417 --> 00:31:40,000 IN THE WORLD, 1134 00:31:40,041 --> 00:31:42,458 AND HE BECOMES A FIGURE 1135 00:31:42,500 --> 00:31:46,041 WHO IS CUTTING ACROSS 1136 00:31:42,500 --> 00:31:46,041 THE CULTURE. 1137 00:31:46,083 --> 00:31:49,208 YOU KNOW, THE PUBLIC 1138 00:31:46,083 --> 00:31:49,208 CAN'T SEEM TO GET ENOUGH OF HIM. 1139 00:31:50,500 --> 00:31:52,083 narrator: 1140 00:31:50,500 --> 00:31:52,083 IT IS ONLY A MATTER OF TIME 1141 00:31:52,125 --> 00:31:54,041 BEFORE HOLLYWOOD COMES CALLING 1142 00:31:54,083 --> 00:31:57,875 TO CASH IN 1143 00:31:54,083 --> 00:31:57,875 ON PRYOR'S POPULARITY. 1144 00:31:57,917 --> 00:32:01,792 - RICHARD PRYOR'S TRANSITION 1145 00:31:57,917 --> 00:32:01,792 FROM STAND-UP TO MOVIES 1146 00:32:01,834 --> 00:32:04,208 IS A NATURAL PROGRESSION 1147 00:32:01,834 --> 00:32:04,208 IN HOLLYWOOD. 1148 00:32:04,250 --> 00:32:05,667 FUNNY IS MONEY. 1149 00:32:08,917 --> 00:32:10,208 narrator: 1150 00:32:08,917 --> 00:32:10,208 IN WHAT COULD BE CONSIDERED 1151 00:32:10,250 --> 00:32:12,250 THE BIGGEST BREAK IN HIS CAREER, 1152 00:32:12,291 --> 00:32:15,000 HE IS CAST 1153 00:32:12,291 --> 00:32:15,000 TO PLAY OPPOSITE DIANA ROSS 1154 00:32:15,041 --> 00:32:19,041 AND BILLY DEE WILLIAMS 1155 00:32:15,041 --> 00:32:19,041 IN LADY SINGS THE BLUES. 1156 00:32:19,083 --> 00:32:22,208 - RICHARD STOLE THE FILM 1157 00:32:19,083 --> 00:32:22,208 JUST WITH THAT LITTLE PIECE, 1158 00:32:22,250 --> 00:32:24,417 AND HE GOT ALL THE RECOGNITION, 1159 00:32:24,458 --> 00:32:26,041 AND IT DIDN'T GO BILLY'S WAY, 1160 00:32:26,083 --> 00:32:28,041 AND NOBODY REALLY WAS TALKING 1161 00:32:26,083 --> 00:32:28,041 ABOUT BILLY IN THE FILM, 1162 00:32:28,083 --> 00:32:30,166 EVEN THOUGH HE DID A GREAT JOB. 1163 00:32:30,208 --> 00:32:32,125 THEY WAS TALKING ABOUT 1164 00:32:30,208 --> 00:32:32,125 WHO WAS THIS NEW GUY, 1165 00:32:32,166 --> 00:32:33,667 RICHARD PRYOR. 1166 00:32:33,709 --> 00:32:35,166 AND FROM THERE ON, RICHARD-- 1167 00:32:35,208 --> 00:32:37,208 THE MOMENTUM FOR MOVIES STARTED. 1168 00:32:39,000 --> 00:32:41,458 narrator: FOR HIS WORK 1169 00:32:39,000 --> 00:32:41,458 IN LADY SINGS THE BLUES, 1170 00:32:41,500 --> 00:32:43,625 PRYOR WOULD EARN 1171 00:32:41,500 --> 00:32:43,625 CRITICAL ACCLAIM. 1172 00:32:43,667 --> 00:32:47,750 - YOU KNOW, THE TRANSITION 1173 00:32:43,667 --> 00:32:47,750 FROM STAND-UP TO FILM 1174 00:32:47,792 --> 00:32:50,834 WASN'T HARD FOR HIM, 1175 00:32:47,792 --> 00:32:50,834 BECAUSE HE HAD A NATURALNESS 1176 00:32:50,875 --> 00:32:53,875 AND HE HAD A DEPTH THAT, 1177 00:32:50,875 --> 00:32:53,875 YOU KNOW, ACTORS TRY TO FIND. 1178 00:32:53,917 --> 00:32:56,291 - NOT EVERYBODY 1179 00:32:53,917 --> 00:32:56,291 CAN MAKE THAT TRANSITION 1180 00:32:56,333 --> 00:32:58,917 TO THE BIG SCREEN, 1181 00:32:56,333 --> 00:32:58,917 BUT RICHARD PRYOR COULD. 1182 00:32:58,959 --> 00:33:01,333 HE UNDERSTOOD 1183 00:32:58,959 --> 00:33:01,333 WHEN YOU DO IT ON THE SCREEN, 1184 00:33:01,375 --> 00:33:02,709 YOU GOT TO PLAY IT BIG. 1185 00:33:02,750 --> 00:33:04,917 HE UNDERSTOOD CAMERA ANGLES. 1186 00:33:04,959 --> 00:33:08,125 HE UNDERSTOOD HOW TO BE FUNNY 1187 00:33:04,959 --> 00:33:08,125 ONS--HE WAS BEING HIMSELF. 1188 00:33:08,166 --> 00:33:10,000 HE'D LET THE CAMERA FIND HIM. 1189 00:33:14,083 --> 00:33:15,667 narrator: 1190 00:33:14,083 --> 00:33:15,667 HE SOON HAS A THRIVING CAREER 1191 00:33:15,709 --> 00:33:18,208 AS A SUPPORTING ACTOR IN FILMS 1192 00:33:18,250 --> 00:33:20,041 INCLUDING UPTOWN SATURDAY NIGHT, 1193 00:33:20,083 --> 00:33:23,458 THE BINGO LONG TRAVELING 1194 00:33:20,083 --> 00:33:23,458 ALL-STARS and MOTOR KINGS, 1195 00:33:23,500 --> 00:33:27,333 AND THE 1976 RELEASE 1196 00:33:23,500 --> 00:33:27,333 SILVER STREAK. 1197 00:33:27,375 --> 00:33:29,792 - RICHARD PRYOR WAS A GREAT 1198 00:33:27,375 --> 00:33:29,792 ACTOR BECAUSE HE DIDN'T ACT. 1199 00:33:29,834 --> 00:33:33,250 THAT'S WHEN YOU KNOW 1200 00:33:29,834 --> 00:33:33,250 YOU GOT A GREAT ACTOR. 1201 00:33:33,291 --> 00:33:34,875 - THE GREATEST THING 1202 00:33:33,291 --> 00:33:34,875 ABOUT RICHARD PRYOR 1203 00:33:34,917 --> 00:33:38,458 IS THAT AS GREAT A COMIC 1204 00:33:34,917 --> 00:33:38,458 AS HE WAS, 1205 00:33:38,500 --> 00:33:39,959 HIS MOVIES 1206 00:33:38,500 --> 00:33:39,959 WERE COMPLETELY DIFFERENT, 1207 00:33:40,000 --> 00:33:42,208 LIKE HE WAS 1208 00:33:40,000 --> 00:33:42,208 A COMPLETELY DIFFERENT PERSON 1209 00:33:42,250 --> 00:33:43,667 IN THE MOVIES, 1210 00:33:43,709 --> 00:33:46,208 LIKE HE DIDN'T KNOW 1211 00:33:43,709 --> 00:33:46,208 HOW GREAT OF AN ACTOR HE WAS. 1212 00:33:46,250 --> 00:33:51,792 EVERY SINGLE MOVIE WAS 1213 00:33:46,250 --> 00:33:51,792 ITS OWN SWEET THING. 1214 00:33:54,834 --> 00:34:00,542 - WELL, RICHARD EXPANDED 1215 00:33:54,834 --> 00:34:00,542 THE VOCABULARY OF BLACK TYPES 1216 00:34:00,583 --> 00:34:02,834 AS FAR AS HOLLYWOOD 1217 00:34:00,583 --> 00:34:02,834 WAS CONCERNED. 1218 00:34:02,875 --> 00:34:04,166 narrator: 1219 00:34:02,875 --> 00:34:04,166 IN GREASED LIGHTNING, 1220 00:34:04,208 --> 00:34:06,291 HE PORTRAYS WENDELL SCOTT, 1221 00:34:06,333 --> 00:34:09,667 THE FIRST AFRICAN-AMERICAN 1222 00:34:06,333 --> 00:34:09,667 STOCK CAR RACER. 1223 00:34:12,458 --> 00:34:15,208 THEN HE AMBITIOUSLY 1224 00:34:12,458 --> 00:34:15,208 PLAYED THREE ROLES 1225 00:34:15,250 --> 00:34:17,250 IN WHICH WAY IS UP? 1226 00:34:17,291 --> 00:34:22,125 - AS I WAS DEVELOPING THE FILM 1227 00:34:17,291 --> 00:34:22,125 WITH RICHARD, 1228 00:34:22,166 --> 00:34:26,667 I REALIZED THAT HE COULD PLAY 1229 00:34:22,166 --> 00:34:26,667 NOT ONLY THE LEAD CHARACTER, 1230 00:34:26,709 --> 00:34:31,625 BUT HE COULD PLAY 1231 00:34:26,709 --> 00:34:31,625 TWO OTHER CHARACTERS: 1232 00:34:31,667 --> 00:34:36,458 HIS FATHER 1233 00:34:31,667 --> 00:34:36,458 AND A BOOTLEG PREACHER. 1234 00:34:36,500 --> 00:34:38,125 DEFINITELY THE FIRST BLACK FILM 1235 00:34:38,166 --> 00:34:42,083 THAT HAD MULTIPLE CHARACTERS 1236 00:34:38,166 --> 00:34:42,083 PLAYED BY ONE ACTOR. 1237 00:34:43,250 --> 00:34:48,875 AND RICHARD JUST LOVED 1238 00:34:43,250 --> 00:34:48,875 THAT WHOLE EXPERIENCE 1239 00:34:48,917 --> 00:34:51,208 AND WAS HYSTERICALLY FUNNY. 1240 00:34:51,250 --> 00:34:55,208 THE HARDEST JOB I HAD WAS TRYING 1241 00:34:51,250 --> 00:34:55,208 TO KEEP THE CREW FROM LAUGHING. 1242 00:34:55,250 --> 00:34:59,709 - AND THAT WAS SO SUCCESSFUL 1243 00:34:55,250 --> 00:34:59,709 THAT OTHER FILMMAKERS, 1244 00:34:59,750 --> 00:35:02,417 LIKE THE COMEDIAN EDDIE MURPHY 1245 00:34:59,750 --> 00:35:02,417 AND SO FORTH, 1246 00:35:02,458 --> 00:35:04,166 THEY START DOING THE SAME THING, 1247 00:35:04,208 --> 00:35:05,458 BUT THIS IS ONE OF THE THINGS, 1248 00:35:04,208 --> 00:35:05,458 I THINK, 1249 00:35:05,500 --> 00:35:09,542 THAT RICHARD CONTRIBUTED 1250 00:35:05,500 --> 00:35:09,542 TO FILMMAKING. 1251 00:35:12,166 --> 00:35:17,250 - HE IS THE HOTTEST ACT 1252 00:35:12,166 --> 00:35:17,250 IN POPULAR CULTURE, BAR NONE. 1253 00:35:17,291 --> 00:35:22,291 BLACK, WHITE, MUSIC, FILM, 1254 00:35:17,291 --> 00:35:22,291 WHAT--RICHARD PRYOR IS THE GUY. 1255 00:35:22,333 --> 00:35:25,041 narrator: PRYOR ALSO CONTRIBUTES 1256 00:35:22,333 --> 00:35:25,041 HIS WRITING TALENTS 1257 00:35:25,083 --> 00:35:26,500 TO OTHER COMICS. 1258 00:35:26,542 --> 00:35:28,792 HE WRITES BITS 1259 00:35:26,542 --> 00:35:28,792 FOR THE FLIP WILSON SHOW 1260 00:35:28,834 --> 00:35:31,500 AND SANFORD AND SON. 1261 00:35:31,542 --> 00:35:35,333 IN 1973, HE WINS AND EMMY 1262 00:35:31,542 --> 00:35:35,333 FOR HIS WRITING 1263 00:35:35,375 --> 00:35:37,625 ON THE TELEVISION SPECIAL LILY, 1264 00:35:37,667 --> 00:35:39,834 STARRING LILY TOMLIN. 1265 00:35:39,875 --> 00:35:41,875 HOWEVER, PRYOR'S WORK 1266 00:35:39,875 --> 00:35:41,875 IN TELEVISION 1267 00:35:41,917 --> 00:35:44,375 WILL PROVE TO BE PROBLEMATIC. 1268 00:35:49,458 --> 00:35:51,333 HE WAS TAPPED TO BE 1269 00:35:49,458 --> 00:35:51,333 A GUEST HOST 1270 00:35:51,375 --> 00:35:54,041 ON THE FIRST SEASON 1271 00:35:51,375 --> 00:35:54,041 OF SATURDAY NIGHT LIVE. 1272 00:35:54,083 --> 00:35:58,542 - NOW LORNE MICHAELS REALLY 1273 00:35:54,083 --> 00:35:58,542 WANTS RICHARD TO BE THE HOST 1274 00:35:58,583 --> 00:36:00,667 OF THE INAUGURAL SHOW, 1275 00:36:00,709 --> 00:36:04,500 WHICH TELLS YOU HOW SIGNIFICANT 1276 00:36:00,709 --> 00:36:04,500 RICHARD PRYOR IS 1277 00:36:04,542 --> 00:36:07,500 AT THAT MOMENT IN 1975. 1278 00:36:09,583 --> 00:36:11,125 NBC'S NERVOUS. 1279 00:36:11,166 --> 00:36:14,041 narrator: NETWORK EXECUTIVES 1280 00:36:11,166 --> 00:36:14,041 AND AFFILIATES 1281 00:36:14,083 --> 00:36:18,375 THINK RICHARD IS TOO DANGEROUS 1282 00:36:14,083 --> 00:36:18,375 TO PUT ON LIVE TELEVISION. 1283 00:36:18,417 --> 00:36:19,709 - RICHARD HAD A HISTORY. 1284 00:36:19,750 --> 00:36:22,417 HE COULDN'T GET INSURED 1285 00:36:19,750 --> 00:36:22,417 FOR BLAZING SADDLES, 1286 00:36:22,458 --> 00:36:24,291 WHICH HE WROTE WITH MEL BROOKS, 1287 00:36:24,333 --> 00:36:26,125 BUT THEY END UP PICKING 1288 00:36:24,333 --> 00:36:26,125 CLEAVON LITTLE 1289 00:36:26,166 --> 00:36:28,333 BECAUSE RICHARD 1290 00:36:26,166 --> 00:36:28,333 HAS HIS REPUTATION 1291 00:36:28,375 --> 00:36:32,542 OF FIGHTING AND DRUG USAGE. 1292 00:36:32,583 --> 00:36:34,291 - IT WAS LIVE, 1293 00:36:32,583 --> 00:36:34,291 AND WHEN RICHIE WENT LIVE-- 1294 00:36:34,333 --> 00:36:36,208 ONCE YOU WALK OUT 1295 00:36:34,333 --> 00:36:36,208 AND THOSE LIGHTS COME ON, 1296 00:36:36,250 --> 00:36:38,417 THAT AUDIENCE-- 1297 00:36:36,250 --> 00:36:38,417 YOU CAN HAVE A SCRIPT, 1298 00:36:38,458 --> 00:36:40,250 YOU CAN HAVE 1299 00:36:38,458 --> 00:36:40,250 YOUR CUE CARDS THERE, 1300 00:36:40,291 --> 00:36:41,917 BUT IF THAT AUDIENCE 1301 00:36:40,291 --> 00:36:41,917 IS LAUGHING AT SOMETHING, 1302 00:36:41,959 --> 00:36:43,458 YOU MIGHT JUST GO 1303 00:36:41,959 --> 00:36:43,458 IN A DIFFERENT DIRECTION. 1304 00:36:43,500 --> 00:36:46,917 narrator: NBC EXECUTIVES 1305 00:36:43,500 --> 00:36:46,917 AREN'T WILLING TO TAKE THE RISK. 1306 00:36:46,959 --> 00:36:48,750 - THEY COULDN'T PUT HIM 1307 00:36:46,959 --> 00:36:48,750 ON THE FIRST SHOW-- 1308 00:36:48,792 --> 00:36:50,417 THE NETWORK WAS CONCERNED-- 1309 00:36:50,458 --> 00:36:52,959 SO EVENTUALLY, 1310 00:36:50,458 --> 00:36:52,959 THEY COME UP WITH A DELAY. 1311 00:36:54,792 --> 00:36:56,000 RICHARD WOULD SPEAK 1312 00:36:56,041 --> 00:36:57,542 AND THE BROADCAST 1313 00:36:56,041 --> 00:36:57,542 WOULD BE DELAYED 1314 00:36:57,583 --> 00:36:59,875 SO THAT THE NETWORK 1315 00:36:57,583 --> 00:36:59,875 COULD POTENTIALLY CENSOR 1316 00:36:59,917 --> 00:37:02,959 ANYTHING HE SAID THAT MIGHT BE 1317 00:36:59,917 --> 00:37:02,959 CONSIDERED OFFENSIVE. 1318 00:37:03,000 --> 00:37:05,875 - THEY CREATED THE FIVE-SECOND 1319 00:37:03,000 --> 00:37:05,875 DELAY ON SATURDAY NIGHT LIVE, 1320 00:37:05,917 --> 00:37:07,959 WHICH I WAS A PART OF 1321 00:37:05,917 --> 00:37:07,959 FOR SEVEN SEASONS, 1322 00:37:08,000 --> 00:37:10,208 BECAUSE OF RICHARD PRYOR. 1323 00:37:10,250 --> 00:37:12,667 narrator: 1324 00:37:10,250 --> 00:37:12,667 TODAY, THANKS TO RICHARD PRYOR, 1325 00:37:12,709 --> 00:37:15,875 VIRTUALLY ALL LIVE EVENTS 1326 00:37:12,709 --> 00:37:15,875 ON BROADCAST TELEVISION 1327 00:37:15,917 --> 00:37:19,500 ARE ON A FIVE- TO SEVEN-SECOND 1328 00:37:15,917 --> 00:37:19,500 DELAY. 1329 00:37:19,542 --> 00:37:20,917 - THE WAY I LOOK AT IT, 1330 00:37:20,959 --> 00:37:23,583 THAT IS ONE 1331 00:37:20,959 --> 00:37:23,583 OF THE BIGGEST COMPLIMENTS 1332 00:37:23,625 --> 00:37:25,625 YOU COULD EVER POSSIBLY IMAGINE, 1333 00:37:25,667 --> 00:37:27,667 THAT YOU ARE SO SIGNIFICANT, 1334 00:37:27,709 --> 00:37:30,375 LORNE MICHAELS HAS TO HAVE YOU 1335 00:37:27,709 --> 00:37:30,375 ON THIS SHOW 1336 00:37:30,417 --> 00:37:33,500 IN SUCH A WAY THAT THE NETWORK 1337 00:37:30,417 --> 00:37:33,500 WILL COME UP WITH 1338 00:37:33,542 --> 00:37:37,917 A SPECIAL PROTOCOL 1339 00:37:33,542 --> 00:37:37,917 JUST TO ACCOMMODATE YOU. 1340 00:37:37,959 --> 00:37:40,500 THIS TELLS YOU, 1341 00:37:37,959 --> 00:37:40,500 MAYBE BETTER THAN ANYTHING, 1342 00:37:40,542 --> 00:37:43,583 HOW IMPORTANT RICHARD PRYOR IS 1343 00:37:40,542 --> 00:37:43,583 IN 1975. 1344 00:37:43,625 --> 00:37:45,917 [cheers and applause] 1345 00:37:47,542 --> 00:37:50,208 narrator: EVEN WITH 1346 00:37:47,542 --> 00:37:50,208 MIXED REVIEWS ON TELEVISION, 1347 00:37:50,250 --> 00:37:53,834 ONE CAN'T DENY RICHARD PRYOR 1348 00:37:50,250 --> 00:37:53,834 IS A COMIC SUPERSTAR 1349 00:37:53,875 --> 00:37:56,417 AT THE PEAK OF HIS POPULARITY. 1350 00:37:59,208 --> 00:38:02,583 BUT DESPITE HIS SUCCESS, 1351 00:37:59,208 --> 00:38:02,583 PRYOR'S PERSONAL LIFE 1352 00:38:02,625 --> 00:38:05,417 IS SPIRALING OUT OF CONTROL. 1353 00:38:05,458 --> 00:38:09,000 - AND BEING A COMEDIAN, 1354 00:38:05,458 --> 00:38:09,000 YOU DON'T TRUST A LOT OF PEOPLE. 1355 00:38:09,041 --> 00:38:10,542 YOU DON'T LET A LOT OF PEOPLE 1356 00:38:09,041 --> 00:38:10,542 INTO YOUR LIFE. 1357 00:38:10,583 --> 00:38:13,041 OUR LIVES ARE WAY DIFFERENT 1358 00:38:10,583 --> 00:38:13,041 THAN EVERYBODY ELSE'S, YOU KNOW. 1359 00:38:13,083 --> 00:38:14,458 WE'RE GONE AND WE COME BACK 1360 00:38:13,083 --> 00:38:14,458 AND PEOPLE HAVE LIVES 1361 00:38:14,500 --> 00:38:16,291 AND PEOPLE HAVE KIDS, 1362 00:38:14,500 --> 00:38:16,291 AND, YOU KNOW, 1363 00:38:16,333 --> 00:38:18,166 WE GET INVOLVED WITH SOMEBODY 1364 00:38:16,333 --> 00:38:18,166 AND SOMEBODY'S GONNA SAY, 1365 00:38:18,208 --> 00:38:20,500 "WHY ARE YOU ALWAYS GONE? 1366 00:38:18,208 --> 00:38:20,500 WHY DO YOU DRINK SO MUCH? 1367 00:38:20,542 --> 00:38:22,792 HOW COME YOU'RE ALWAYS QUIET? 1368 00:38:20,542 --> 00:38:22,792 HOW COME WE DON'T TALK?" 1369 00:38:26,500 --> 00:38:28,625 narrator: 1370 00:38:26,500 --> 00:38:28,625 THERE ARE ISSUES AT HOME. 1371 00:38:28,667 --> 00:38:30,792 PRYOR WAS MARRIED SEVEN TIMES. 1372 00:38:30,834 --> 00:38:33,166 HE LOVED WOMEN, 1373 00:38:33,208 --> 00:38:35,291 BUT WITH HIS EXPLOSIVE TEMPER 1374 00:38:33,208 --> 00:38:35,291 AND HIS TENDENCY 1375 00:38:35,333 --> 00:38:38,417 TO ISOLATE HIMSELF 1376 00:38:35,333 --> 00:38:38,417 FOR DAYS ON END, 1377 00:38:38,458 --> 00:38:40,959 HIS RELATIONSHIPS WOULDN'T LAST. 1378 00:38:41,000 --> 00:38:43,625 - I DARE ANYBODY 1379 00:38:41,000 --> 00:38:43,625 TO TELL YOU HONESTLY 1380 00:38:43,667 --> 00:38:45,291 THAT THEY GET OFFSTAGE 1381 00:38:45,333 --> 00:38:47,583 AND HAVE A BETTER LIFE OFFSTAGE 1382 00:38:45,333 --> 00:38:47,583 THAN THEY DO ONSTAGE. 1383 00:38:47,625 --> 00:38:49,417 THERE'S NO [bleep] WAY 1384 00:38:47,625 --> 00:38:49,417 THAT SOMEBODY'S GONNA TELL YOU 1385 00:38:49,458 --> 00:38:51,625 THAT'S BEEN DOING STAND-UP 1386 00:38:49,458 --> 00:38:51,625 FOR A LIVING 1387 00:38:51,667 --> 00:38:55,208 THAT THEIR LIFE IS BETTER 1388 00:38:51,667 --> 00:38:55,208 OFFSTAGE THAN IT IS ONSTAGE. 1389 00:38:55,250 --> 00:38:57,417 YOUR THINGS MIGHT BE BETTER, 1390 00:38:55,250 --> 00:38:57,417 YOUR HOUSE MIGHT BE BETTER, 1391 00:38:57,458 --> 00:39:01,250 YOUR CAR MIGHT BE BETTER, 1392 00:38:57,458 --> 00:39:01,250 BUT WE SUFFER. 1393 00:39:01,291 --> 00:39:04,417 - SO YOU NEED SOMEONE TO COME 1394 00:39:01,291 --> 00:39:04,417 INTO AN UNDERSTANDING-- 1395 00:39:04,458 --> 00:39:08,125 THE VERY THING 1396 00:39:04,458 --> 00:39:08,125 THAT ATTRACTED ME TO YOU, 1397 00:39:08,166 --> 00:39:10,000 I SUPPORT THAT 1398 00:39:08,166 --> 00:39:10,000 AND CONTINUE TO DO IT 1399 00:39:10,041 --> 00:39:12,500 AS OPPOSED TO 1400 00:39:10,041 --> 00:39:12,500 WHAT ATTRACTED ME TO YOU, 1401 00:39:12,542 --> 00:39:14,083 STOP DOING IT. 1402 00:39:14,125 --> 00:39:16,959 AND SO THAT'S WHERE THE CONFLICT 1403 00:39:14,125 --> 00:39:16,959 WITH A LOT OF WIVES CAME IN AT. 1404 00:39:18,125 --> 00:39:19,583 narrator: 1405 00:39:18,125 --> 00:39:19,583 PRYOR IS A CHAIN-SMOKER 1406 00:39:19,625 --> 00:39:21,125 AND A HEAVY DRINKER, 1407 00:39:21,166 --> 00:39:24,917 WHICH LEADS TO A HEART ATTACK 1408 00:39:21,166 --> 00:39:24,917 IN 1977. 1409 00:39:26,709 --> 00:39:30,375 BUT RICHARD PRYOR'S REAL DEMON 1410 00:39:26,709 --> 00:39:30,375 WOULD BE DRUGS. 1411 00:39:30,417 --> 00:39:33,125 - RICHARD WAS A PART 1412 00:39:30,417 --> 00:39:33,125 OF THE DRUG CULTURE. 1413 00:39:33,166 --> 00:39:34,834 HIS TIME, IT WAS COCAINE. 1414 00:39:37,417 --> 00:39:42,291 narrator: PRYOR HAS BEEN USING 1415 00:39:37,417 --> 00:39:42,291 COCAINE SINCE THE EARLY 1960s. 1416 00:39:42,333 --> 00:39:44,250 - RICHARD WAS A JUNKIE. 1417 00:39:42,333 --> 00:39:44,250 HE'S A DOPE FIEND. 1418 00:39:44,291 --> 00:39:47,458 - IN TERMS OF INDULGENCE, 1419 00:39:44,291 --> 00:39:47,458 RICHARD WAS THE KIND OF PERSON 1420 00:39:47,500 --> 00:39:52,166 THAT WOULD ALWAYS, ALWAYS GO 1421 00:39:47,500 --> 00:39:52,166 TO THE DEEP WATER WITH IT, 1422 00:39:52,208 --> 00:39:57,166 AND THAT'S ALWAYS 1423 00:39:52,208 --> 00:39:57,166 THE DANGEROUS PLACE. 1424 00:39:57,208 --> 00:40:00,542 narrator: A HUNDRED-DOLLAR-A-DAY 1425 00:39:57,208 --> 00:40:00,542 HABIT IS NOW COSTING 1426 00:40:00,583 --> 00:40:03,291 HUNDREDS OF THOUSANDS OF DOLLARS 1427 00:40:00,583 --> 00:40:03,291 A YEAR. 1428 00:40:03,333 --> 00:40:07,500 - THERE WERE DRUG DEALERS, 1429 00:40:03,333 --> 00:40:07,500 AT TIMES-- 1430 00:40:07,542 --> 00:40:10,667 AND RICHIE WOULD EVEN SAY IT 1431 00:40:07,542 --> 00:40:10,667 AGAIN IN HIS COMEDY, 1432 00:40:10,709 --> 00:40:12,792 BUT I KNOW BECAUSE I WAS THERE-- 1433 00:40:12,834 --> 00:40:14,750 THAT WOULD SAY NO TO HIM, 1434 00:40:14,792 --> 00:40:17,709 AND THEY HAD ALL KIND OF DRUGS, 1435 00:40:17,750 --> 00:40:19,417 BUT THEY WOULD SAY NO TO HIM, 1436 00:40:19,458 --> 00:40:23,750 BECAUSE HE DIDN'T COME AND BUY 1437 00:40:19,458 --> 00:40:23,750 A GRAM OR TWO GRAMS OR-- 1438 00:40:23,792 --> 00:40:25,583 HE WOULD BUY YOUR WHOLE SUPPLY. 1439 00:40:25,625 --> 00:40:29,625 narrator: IN 1980, 1440 00:40:25,625 --> 00:40:29,625 PRYOR IS FREEBASING COCAINE 1441 00:40:29,667 --> 00:40:34,667 USING VOLATILE ETHER TO HELP 1442 00:40:29,667 --> 00:40:34,667 LIGHT THE DRUG FOR SMOKING. 1443 00:40:34,709 --> 00:40:39,792 IT WOULD PROVE TO BE 1444 00:40:34,709 --> 00:40:39,792 A NEAR-FATAL COMBINATION. 1445 00:40:39,834 --> 00:40:42,333 - RICHARD PRYOR, 1446 00:40:39,834 --> 00:40:42,333 THE COMEDIAN AND WRITER, 1447 00:40:42,375 --> 00:40:44,250 WAS BADLY BURNED IN AN ACCIDENT 1448 00:40:44,291 --> 00:40:46,542 AT HIS HOME IN CALIFORNIA 1449 00:40:44,291 --> 00:40:46,542 LAST NIGHT. 1450 00:40:46,583 --> 00:40:49,667 THE BURNS COVER THE UPPER HALF 1451 00:40:46,583 --> 00:40:49,667 OF HIS BODY. 1452 00:40:49,709 --> 00:40:52,709 THEY ARE SEVERE ENOUGH 1453 00:40:49,709 --> 00:40:52,709 TO ENDANGER HIS LIFE. 1454 00:40:54,333 --> 00:40:57,709 narrator: BY ALL ACCOUNTS, 1455 00:40:54,333 --> 00:40:57,709 RICHARD PRYOR SHOULD HAVE DIED 1456 00:40:57,750 --> 00:40:59,333 ON JUNE 9, 1980. 1457 00:40:59,375 --> 00:41:01,542 - I WAS THERE 1458 00:40:59,375 --> 00:41:01,542 WHEN RICHARD BURNED, 1459 00:41:01,583 --> 00:41:04,208 BUT I DIDN'T KNOW 1460 00:41:01,583 --> 00:41:04,208 IT WAS RICHARD. 1461 00:41:04,250 --> 00:41:07,083 AND WHEN HE RAN PAST ME 1462 00:41:04,250 --> 00:41:07,083 AND RAN OUT OF THE HOUSE, 1463 00:41:07,125 --> 00:41:09,333 AND THEN I REALIZED 1464 00:41:07,125 --> 00:41:09,333 THAT WAS RICHARD. 1465 00:41:12,500 --> 00:41:14,041 narrator: 1466 00:41:12,500 --> 00:41:14,041 THE LOS ANGELES POLICE REPORT 1467 00:41:14,083 --> 00:41:17,709 STATES PRYOR WAS BURNED 1468 00:41:14,083 --> 00:41:17,709 WHILE FREEBASING COCAINE. 1469 00:41:19,792 --> 00:41:21,458 - AND I WAS, FRANKLY, AFRAID 1470 00:41:21,500 --> 00:41:23,208 WHEN I'D DO FREEBASE 1471 00:41:21,500 --> 00:41:23,208 WITH RICHARD, 1472 00:41:23,250 --> 00:41:25,500 BECAUSE THE TORCH WAS SO BIG, 1473 00:41:25,542 --> 00:41:28,250 AND SO IT WAS INEVITABLE 1474 00:41:25,542 --> 00:41:28,250 THAT ONE DAY, 1475 00:41:28,291 --> 00:41:30,709 IF YOU GOT THE TORCH 1476 00:41:28,291 --> 00:41:30,709 AND THIS SSHH, 1477 00:41:30,750 --> 00:41:33,625 YOU MAY TURN IT THE WRONG WAY, 1478 00:41:30,750 --> 00:41:33,625 ALL RIGHT? 1479 00:41:33,667 --> 00:41:36,208 AND OTHER PEOPLE 1480 00:41:33,667 --> 00:41:36,208 HAD SIMILAR ACCIDENTS, 1481 00:41:36,250 --> 00:41:40,417 BUT WHEN HE DID IT, 1482 00:41:36,250 --> 00:41:40,417 IT RESULTED IN A FIRE. 1483 00:41:40,458 --> 00:41:42,041 narrator: 1484 00:41:40,458 --> 00:41:42,041 THERE WERE ALSO THE RUMORS 1485 00:41:42,083 --> 00:41:44,792 THAT PRYOR ATTEMPTED SUICIDE. 1486 00:41:44,834 --> 00:41:49,375 - RICHARD BURNED WAS NOT 1487 00:41:44,834 --> 00:41:49,375 A ATTEMPT TO KILL HIMSELF, 1488 00:41:49,417 --> 00:41:50,959 EXCEPT IN A SYMBOLIC WAY. 1489 00:41:51,000 --> 00:41:52,792 IN A SYMBOLIC WAY, 1490 00:41:52,834 --> 00:41:56,083 ARTISTS ARE ALWAYS PRETTY MUCH 1491 00:41:52,834 --> 00:41:56,083 DISSATISFIED WITH THEIR WORK. 1492 00:41:56,125 --> 00:41:59,000 REMEMBER WHEN I FIRST MET 1493 00:41:56,125 --> 00:41:59,000 RICHARD IN BERKELEY, 1494 00:41:59,041 --> 00:42:00,792 HIS WORK WAS PERFECT, 1495 00:41:59,041 --> 00:42:00,792 BUT HE SAID, 1496 00:42:00,834 --> 00:42:03,083 "MAN, I WANT 1497 00:42:00,834 --> 00:42:03,083 SOMETHING DIFFERENT." 1498 00:42:03,125 --> 00:42:05,625 - EVERYTHING WAS SETTLED 1499 00:42:03,125 --> 00:42:05,625 THAT NIGHT 1500 00:42:05,667 --> 00:42:07,917 JUNE 9, 1980. 1501 00:42:07,959 --> 00:42:09,625 SLATE WAS CLEAN. 1502 00:42:09,667 --> 00:42:13,583 narrator: PRYOR IS GIVEN A 1503 00:42:09,667 --> 00:42:13,583 ONE-IN-THREE CHANCE OF SURVIVAL, 1504 00:42:13,625 --> 00:42:16,500 BUT AFTER SIX WEEKS OF 1505 00:42:13,625 --> 00:42:16,500 A TORTUROUS COURSE OF TREATMENT, 1506 00:42:16,542 --> 00:42:19,250 HE WAS DISCHARGED 1507 00:42:16,542 --> 00:42:19,250 FROM THE HOSPITAL. 1508 00:42:23,000 --> 00:42:24,959 - ALL THE PEOPLE 1509 00:42:23,000 --> 00:42:24,959 YOU EVER HEARD OF FREEBASING, 1510 00:42:25,000 --> 00:42:29,542 HAVE YOU EVER OF ANYBODY 1511 00:42:25,000 --> 00:42:29,542 BLOWING UP? 1512 00:42:29,583 --> 00:42:30,792 WHY ME? 1513 00:42:30,834 --> 00:42:33,375 [cheers and applause] 1514 00:42:33,417 --> 00:42:36,875 narrator: IN 1982, RICHARD PRYOR 1515 00:42:33,417 --> 00:42:36,875 RETURNS TO THE STAGE 1516 00:42:36,917 --> 00:42:41,166 IN ONE OF THE GREATEST COMEBACKS 1517 00:42:36,917 --> 00:42:41,166 IN ENTERTAINMENT HISTORY. 1518 00:42:41,208 --> 00:42:44,709 - IT'S LIVE ON SUNSET. 1519 00:42:41,208 --> 00:42:44,709 DESTROYED THE PLACE. 1520 00:42:44,750 --> 00:42:48,667 WE SAW AN AMAZING, MIRACULOUS 1521 00:42:44,750 --> 00:42:48,667 THING HAPPEN RIGHT IN OUR FACE, 1522 00:42:48,709 --> 00:42:53,709 STARTING FROM NOTHING 1523 00:42:48,709 --> 00:42:53,709 TO SOMETHING, AND SOMETHING BIG. 1524 00:42:54,917 --> 00:42:57,625 - STILL WENT UP ONSTAGE. 1525 00:42:54,917 --> 00:42:57,625 NEVER QUIT. 1526 00:42:57,667 --> 00:42:59,000 NEVER DISAPPEARED. 1527 00:42:59,041 --> 00:43:02,166 IN MY OPINION, 1528 00:42:59,041 --> 00:43:02,166 THE GREATEST STAND-UP COMEDY 1529 00:43:02,208 --> 00:43:03,458 THAT'S EVER BEEN RECORDED. 1530 00:43:03,500 --> 00:43:08,625 - BUT I SAW 1531 00:43:03,500 --> 00:43:08,625 ACTUAL HISTORY CREATED. 1532 00:43:08,667 --> 00:43:15,375 I SAW A GUY BUILD THE MOST 1533 00:43:08,667 --> 00:43:15,375 BEAUTIFUL MASERATI ONSTAGE, 1534 00:43:15,417 --> 00:43:18,166 YOU KNOW, 1535 00:43:15,417 --> 00:43:18,166 AND DRIVE IT OUT OF THERE. 1536 00:43:19,458 --> 00:43:20,667 narrator: 1537 00:43:19,458 --> 00:43:20,667 FILMED TWO YEARS 1538 00:43:20,709 --> 00:43:23,875 AFTER HIS NEAR-FATAL 1539 00:43:20,709 --> 00:43:23,875 FREEBASING ACCIDENT, 1540 00:43:23,917 --> 00:43:25,709 LIVE ON THE SUNSET STRIP 1541 00:43:25,750 --> 00:43:27,709 FEATURED A NO-HOLDS-BARRED PRYOR 1542 00:43:27,750 --> 00:43:30,709 TELLING ALL ABOUT 1543 00:43:27,750 --> 00:43:30,709 HIS NEAR-FATAL DRUG ADDICTION. 1544 00:43:30,750 --> 00:43:34,792 - I DID IT SO BAD, DOPE DEALERS 1545 00:43:30,750 --> 00:43:34,792 TRIED NOT TO SELL ME NOTHING. 1546 00:43:34,834 --> 00:43:36,750 NOW, THAT'S DOING IT-- 1547 00:43:34,834 --> 00:43:36,750 WHEN THE DOPE DEALERS SAY, 1548 00:43:36,792 --> 00:43:38,500 "MAN, I AIN'T GONNA GIVE YOU 1549 00:43:36,792 --> 00:43:38,500 NO MORE OF THAT [bleep]." 1550 00:43:38,542 --> 00:43:40,208 - WHEN HE BURNED, 1551 00:43:38,542 --> 00:43:40,208 THERE WAS SOMEBODY HE OWED, 1552 00:43:40,250 --> 00:43:43,792 LIKE, $300,000, $400,000. 1553 00:43:43,834 --> 00:43:46,709 AND TWO OR THREE DAYS 1554 00:43:43,834 --> 00:43:46,709 OUT OF THE HOSPITAL, 1555 00:43:46,750 --> 00:43:48,208 HE WAS LIKE, 1556 00:43:46,750 --> 00:43:48,208 "HERE, TAKE THIS TO SO-AND-SO." 1557 00:43:48,250 --> 00:43:50,083 YOU KNOW, 1558 00:43:48,250 --> 00:43:50,083 "GIVE 'EM THEIR MONEY." 1559 00:43:50,125 --> 00:43:51,875 AND I'M LIKE, 1560 00:43:50,125 --> 00:43:51,875 "PRYOR, DON'T, MAN. 1561 00:43:51,917 --> 00:43:54,041 THEY DON'T REALLY 1562 00:43:51,917 --> 00:43:54,041 DON'T CARE SO NOW." 1563 00:43:54,083 --> 00:43:55,875 AND HE INSISTED 1564 00:43:54,083 --> 00:43:55,875 THAT THEY GOT PAID. 1565 00:43:55,917 --> 00:43:58,875 - I DON'T THINK HE CELEBRATED 1566 00:43:55,917 --> 00:43:58,875 THE DRUGS IN THAT THING, 1567 00:43:58,917 --> 00:44:03,667 BUT I THINK HE SAID, 1568 00:43:58,917 --> 00:44:03,667 "I BECAME A SLAVE TO THE DRUGS." 1569 00:44:03,709 --> 00:44:05,834 - I MEAN, 1570 00:44:03,709 --> 00:44:05,834 I WAS STANDING THERE ON FIRE 1571 00:44:05,875 --> 00:44:11,458 AND SOMETHING SAID, 1572 00:44:05,875 --> 00:44:11,458 "WELL, THAT'S A PRETTY BLUE. 1573 00:44:11,500 --> 00:44:15,250 YOU KNOW WHAT? 1574 00:44:11,500 --> 00:44:15,250 THAT LOOKS LIKE--FIRE!" 1575 00:44:15,291 --> 00:44:18,208 [laughter] 1576 00:44:18,250 --> 00:44:19,750 narrator: 1577 00:44:18,250 --> 00:44:19,750 LIVE ON THE SUNSET STRIP 1578 00:44:19,792 --> 00:44:23,041 NOT ONLY REVEALED PRYOR 1579 00:44:19,792 --> 00:44:23,041 AT HIS MOST VULNERABLE, 1580 00:44:23,083 --> 00:44:24,959 IT ALSO PROVED TO BE 1581 00:44:23,083 --> 00:44:24,959 A TURNING POINT 1582 00:44:25,000 --> 00:44:28,500 FOR A MAN KNOWN 1583 00:44:25,000 --> 00:44:28,500 FOR HIS PROVOCATIVE VOCABULARY. 1584 00:44:28,542 --> 00:44:32,041 PRYOR WOULD DETAIL 1585 00:44:28,542 --> 00:44:32,041 A LIFE-CHANGING TRIP TO AFRICA 1586 00:44:32,083 --> 00:44:33,959 THAT WOULD FOREVER 1587 00:44:32,083 --> 00:44:33,959 CHANGE THE WAY 1588 00:44:34,000 --> 00:44:36,542 HE REFERRED 1589 00:44:34,000 --> 00:44:36,542 TO FELLOW AFRICAN-AMERICANS. 1590 00:44:36,583 --> 00:44:41,291 AND A VOICE SAID, 1591 00:44:36,583 --> 00:44:41,291 "DO YOU SEE ANY NIGGAS?" 1592 00:44:41,333 --> 00:44:44,750 AND I SAY, "NO." 1593 00:44:44,792 --> 00:44:47,375 THEY SAY, "YOU KNOW WHY? 1594 00:44:44,792 --> 00:44:47,375 'CAUSE THERE AREN'T ANY." 1595 00:44:47,417 --> 00:44:50,625 - SO THAT'S WHEN RICHARD, 1596 00:44:50,667 --> 00:44:52,959 LIKE MALCOLM X, 1597 00:44:53,000 --> 00:44:54,625 BEGAN TO SEE THE DIFFERENCE. 1598 00:44:54,667 --> 00:44:57,959 - AND IT MADE ME THINK, 1599 00:44:54,667 --> 00:44:57,959 "OH, MY GOD, I'VE BEEN WRONG. 1600 00:44:58,000 --> 00:45:00,875 I'VE BEEN WRONG. 1601 00:44:58,000 --> 00:45:00,875 I'VE GOT TO REGROUP MY [bleep]." 1602 00:45:00,917 --> 00:45:02,625 I MEAN, I SAID, 1603 00:45:00,917 --> 00:45:02,625 "I AIN'T GONNA NEVER CALL 1604 00:45:02,667 --> 00:45:05,917 ANOTHER BLACK MAN 'NIGGA.'" 1605 00:45:05,959 --> 00:45:09,333 - IT WAS LIKE WHEN MALCOLM 1606 00:45:05,959 --> 00:45:09,333 CAME BACK FROM ABROAD 1607 00:45:09,375 --> 00:45:11,375 AND SAID HE HAD PRAYED 1608 00:45:09,375 --> 00:45:11,375 NEXT TO WHITE PEOPLE 1609 00:45:11,417 --> 00:45:12,834 AND HE DIDN'T KNOW 1610 00:45:11,417 --> 00:45:12,834 IT WAS LIKE THAT 1611 00:45:12,875 --> 00:45:14,875 BECAUSE HE WAS TOLD ONE THING. 1612 00:45:14,917 --> 00:45:16,792 - THAT WORD'S DEAD. 1613 00:45:14,917 --> 00:45:16,792 WE MEN AND WOMEN. 1614 00:45:16,834 --> 00:45:20,834 WE COME FROM--WE COME FROM 1615 00:45:16,834 --> 00:45:20,834 THE FIRST PEOPLE ON THE EARTH. 1616 00:45:22,083 --> 00:45:24,583 narrator: PRYOR'S DECISION 1617 00:45:22,083 --> 00:45:24,583 TO STOP USING THE WORD 1618 00:45:24,625 --> 00:45:28,458 IN HIS STAND-UP COMEDY WILL 1619 00:45:24,625 --> 00:45:28,458 BECOME YET ANOTHER CONTROVERSY 1620 00:45:28,500 --> 00:45:31,000 IN HIS ALWAYS 1621 00:45:28,500 --> 00:45:31,000 CONTROVERSIAL LIFE. 1622 00:45:31,041 --> 00:45:32,417 - AND SO WHEN HE SHARED THAT, 1623 00:45:32,458 --> 00:45:36,583 YOU HAD A LOT OF HOLLYWOOD 1624 00:45:36,625 --> 00:45:38,875 THAT DIDN'T LIKE IT. 1625 00:45:38,917 --> 00:45:41,917 - HE WAS ATTEMPTING TO CHANGE 1626 00:45:38,917 --> 00:45:41,917 FROM THE NIGGA 1627 00:45:41,959 --> 00:45:44,792 HE HAD BEEN IN THE 1970s 1628 00:45:44,834 --> 00:45:49,834 TO A MAINSTREAM BLACK MOVIE STAR 1629 00:45:44,834 --> 00:45:49,834 IN THE 1980s. 1630 00:45:49,875 --> 00:45:52,959 I THINK RICHARD WANTS 1631 00:45:49,875 --> 00:45:52,959 TO BE MAINSTREAM, 1632 00:45:53,000 --> 00:45:54,625 AND IF HE DOESN'T WANT 1633 00:45:53,000 --> 00:45:54,625 TO BE MAINSTREAM, 1634 00:45:54,667 --> 00:45:56,875 HE CERTAINLY WANTS 1635 00:45:54,667 --> 00:45:56,875 MAINSTREAM MONEY. 1636 00:45:56,917 --> 00:45:59,083 - I DIDN'T THINK 1637 00:45:56,917 --> 00:45:59,083 RICHARD REALLY CHANGED MUCH 1638 00:45:59,125 --> 00:46:01,500 AFTER HE CAME BACK FROM AFRICA. 1639 00:46:01,542 --> 00:46:04,291 IT WAS ONLY OUT OF USAGE 1640 00:46:01,542 --> 00:46:04,291 FROM THE PUBLIC, 1641 00:46:04,333 --> 00:46:07,125 NOT NECESSARILY FROM RICHARD. 1642 00:46:07,166 --> 00:46:09,000 - WHAT I'VE ALWAYS SAID-- 1643 00:46:09,041 --> 00:46:12,000 THE MINUTE RICHARD PRYOR STOPS 1644 00:46:09,041 --> 00:46:12,000 USING THE WORD "NIGGA" 1645 00:46:12,041 --> 00:46:14,875 IS THE POINT AT WHICH 1646 00:46:12,041 --> 00:46:14,875 HE WAS NO LONGER FUNNY, 1647 00:46:14,917 --> 00:46:20,291 BECAUSE YOU CANNOT STOP 1648 00:46:14,917 --> 00:46:20,291 DOING SOMETHING LIKE THIS 1649 00:46:20,333 --> 00:46:24,500 WHEN YOUR WHOLE IDENTITY 1650 00:46:20,333 --> 00:46:24,500 IS PREDICATED UPON THIS 1651 00:46:24,542 --> 00:46:26,917 AS A CENTRAL PART 1652 00:46:24,542 --> 00:46:26,917 OF WHO YOU ARE. 1653 00:46:26,959 --> 00:46:30,750 - WELL, THAT WOULD MEAN 1654 00:46:26,959 --> 00:46:30,750 YOU COULD JUST DO 1655 00:46:30,792 --> 00:46:33,125 AN ALBUM SAYING THAT WORD, 1656 00:46:30,792 --> 00:46:33,125 AND YOU HAVE A HIT, 1657 00:46:33,166 --> 00:46:34,834 SO THAT WASN'T THE TRUTH. 1658 00:46:36,166 --> 00:46:39,834 narrator: PRYOR CONTINUES 1659 00:46:36,166 --> 00:46:39,834 TO PERFORM STAND-UP COMEDY, 1660 00:46:39,875 --> 00:46:42,542 BUT IN TRUTH, HE DEDICATES 1661 00:46:39,875 --> 00:46:42,542 THE REST OF THE '80s 1662 00:46:42,583 --> 00:46:45,917 TO STARRING IN MANY 1663 00:46:42,583 --> 00:46:45,917 HOLLYWOOD MAINSTREAM FILMS, 1664 00:46:45,959 --> 00:46:49,333 INCLUDING THE TOY, 1665 00:46:45,959 --> 00:46:49,333 BREWSTER'S MILLIONS, 1666 00:46:49,375 --> 00:46:50,625 AND SUPERMAN III, 1667 00:46:50,667 --> 00:46:53,041 WHERE HE EARNED $4 MILLION-- 1668 00:46:53,083 --> 00:46:55,458 REPORTEDLY MORE 1669 00:46:53,083 --> 00:46:55,458 THAN THE FILM'S LEADING MAN, 1670 00:46:55,500 --> 00:46:57,875 CHRISTOPHER REEVE. 1671 00:46:57,917 --> 00:47:00,750 RICHARD PRYOR, 1672 00:46:57,917 --> 00:47:00,750 HOLLYWOOD SUPERSTAR, 1673 00:47:00,792 --> 00:47:02,583 WAS NOW ONE OF THE HIGHEST-PAID 1674 00:47:02,625 --> 00:47:05,166 AFRICAN-AMERICAN ACTORS 1675 00:47:02,625 --> 00:47:05,166 OF THE TIME. 1676 00:47:05,208 --> 00:47:07,458 - HE WAS DOING THEM FOR MONEY, 1677 00:47:07,500 --> 00:47:11,041 YOU KNOW, AND HIS HEART 1678 00:47:07,500 --> 00:47:11,041 REALLY WASN'T IN IT. 1679 00:47:11,083 --> 00:47:14,458 narrator: IN 1986, PRYOR APPEARS 1680 00:47:11,083 --> 00:47:14,458 ON THE TONIGHT SHOW 1681 00:47:14,500 --> 00:47:16,125 WITH JOHNNY CARSON. 1682 00:47:16,166 --> 00:47:19,917 HE SHOCKS THE AUDIENCE 1683 00:47:16,166 --> 00:47:19,917 WITH HIS EMACIATED APPEARANCE. 1684 00:47:19,959 --> 00:47:24,417 THIS BEING 1986, 1685 00:47:19,959 --> 00:47:24,417 THE RUMORS SOON POINTED TO AIDS. 1686 00:47:24,458 --> 00:47:26,625 PRYOR IS FORCED TO REVEAL 1687 00:47:24,458 --> 00:47:26,625 THAT HE SUFFERS 1688 00:47:26,667 --> 00:47:29,834 FROM MULTIPLE SCLEROSIS, 1689 00:47:26,667 --> 00:47:29,834 A DEGENERATIVE DISEASE 1690 00:47:29,875 --> 00:47:32,750 THAT ATTACKS 1691 00:47:29,875 --> 00:47:32,750 THE CENTRAL NERVOUS SYSTEM. 1692 00:47:32,792 --> 00:47:35,625 - YOU KNOW, MS, 1693 00:47:32,792 --> 00:47:35,625 IT CAME OUT OF NOWHERE. 1694 00:47:35,667 --> 00:47:37,166 YOU THOUGHT OF ALL 1695 00:47:35,667 --> 00:47:37,166 THE OTHER THINGS 1696 00:47:37,208 --> 00:47:39,667 THAT COULD HAVE HAPPENED TO HIM 1697 00:47:37,208 --> 00:47:39,667 THAT DIDN'T HAPPEN TO HIM, 1698 00:47:39,709 --> 00:47:43,583 AND THIS MYSTERY DISEASE, MS, 1699 00:47:39,709 --> 00:47:43,583 IS WHAT TOOK HIM OUT. 1700 00:47:43,625 --> 00:47:45,000 - AND WHEN HE BECAME ILL, 1701 00:47:45,041 --> 00:47:46,834 THAT MUST'VE BEEN VERY HARD 1702 00:47:45,041 --> 00:47:46,834 ON HIM, 1703 00:47:46,875 --> 00:47:49,625 BECAUSE COMEDIANS ARE SO USED 1704 00:47:46,875 --> 00:47:49,625 TO DOING ANYTHING WE WANT TO DO. 1705 00:47:49,667 --> 00:47:51,834 - FROM THAT POINT, 1706 00:47:49,667 --> 00:47:51,834 EVERY TIME YOU SAW HIM, 1707 00:47:51,875 --> 00:47:56,250 HE WAS THINNER 1708 00:47:51,875 --> 00:47:56,250 AND DETERIORATING MORE. 1709 00:47:57,625 --> 00:48:00,000 narrator: STAYING TRUE 1710 00:47:57,625 --> 00:48:00,000 TO HIS FIGHTING SPIRIT, 1711 00:48:00,041 --> 00:48:01,709 PRYOR KEEPS PERFORMING. 1712 00:48:01,750 --> 00:48:03,041 - HE STILL GOT THE CALLS. 1713 00:48:03,083 --> 00:48:04,375 COME TALK ABOUT IT, YOU KNOW. 1714 00:48:04,417 --> 00:48:06,083 WE WANT TO DO THESE MOVIES. 1715 00:48:06,125 --> 00:48:08,667 narrator: PRYOR WILL STAR 1716 00:48:06,125 --> 00:48:08,667 IN SEVERAL MORE FILMS, 1717 00:48:08,709 --> 00:48:11,166 INCLUDING CRITICAL CONDITION, 1718 00:48:11,208 --> 00:48:13,000 SEE NO EVIL HEAR NO EVIL, 1719 00:48:13,041 --> 00:48:14,208 AND HARLEM NIGHTS. 1720 00:48:14,250 --> 00:48:16,250 - SO WHEN YOU GET 1721 00:48:14,250 --> 00:48:16,250 TO THE LATE '80s, 1722 00:48:16,291 --> 00:48:18,667 AND EDDIE MURPHY'S DOING 1723 00:48:16,291 --> 00:48:18,667 HARLEM NIGHTS, 1724 00:48:18,709 --> 00:48:20,959 TO PUT RICHARD AND REDD FOXX IN, 1725 00:48:18,709 --> 00:48:20,959 I THINK IT'S GREAT, 1726 00:48:21,000 --> 00:48:24,000 BECAUSE IT SORT OF TIES TOGETHER 1727 00:48:21,000 --> 00:48:24,000 THE TRADITION, 1728 00:48:24,041 --> 00:48:26,208 BUT AT THIS POINT, I THINK, 1729 00:48:26,250 --> 00:48:31,083 RICHARD'S BEST DAYS 1730 00:48:26,250 --> 00:48:31,083 AS A PERFORMER WERE LONG GONE. 1731 00:48:34,125 --> 00:48:36,750 narrator: BY 1990, 1732 00:48:34,125 --> 00:48:36,750 IT IS PAINFULLY OBVIOUS 1733 00:48:36,792 --> 00:48:39,917 THAT RICHARD PRYOR 1734 00:48:36,792 --> 00:48:39,917 IS A VERY SICK MAN. 1735 00:48:39,959 --> 00:48:43,083 HE SUFFERS A SECOND, 1736 00:48:39,959 --> 00:48:43,083 AND MORE SEVERE, HEART ATTACK 1737 00:48:43,125 --> 00:48:46,417 AND UNDERGOES 1738 00:48:43,125 --> 00:48:46,417 TRIPLE HEART BYPASS SURGERY. 1739 00:48:46,458 --> 00:48:48,959 HE WILL REMAIN CONFINED 1740 00:48:46,458 --> 00:48:48,959 TO A WHEELCHAIR 1741 00:48:49,000 --> 00:48:51,291 AND A POWERED SCOOTER 1742 00:48:49,000 --> 00:48:51,291 FOR THE REST OF HIS LIFE, 1743 00:48:51,333 --> 00:48:56,125 BUT HE REFUSES TO STOP 1744 00:48:51,333 --> 00:48:56,125 PERFORMING STAND-UP COMEDY. 1745 00:48:56,166 --> 00:48:58,458 - YES, I'M IN A WHEELCHAIR. 1746 00:48:56,166 --> 00:48:58,458 SO ROLL HIM UP THERE. 1747 00:48:58,500 --> 00:49:01,083 YOU WERE STILL 1748 00:48:58,500 --> 00:49:01,083 LAUGHING ABOUT THAT. 1749 00:49:01,125 --> 00:49:02,500 TELLING JOKES, 1750 00:49:01,125 --> 00:49:02,500 "I KNOW Y'ALL LAUGHING AT ME 1751 00:49:02,542 --> 00:49:04,083 IN THIS WHEELCHAIR ONSTAGE." 1752 00:49:04,125 --> 00:49:05,417 AND THAT'S OKAY. 1753 00:49:05,458 --> 00:49:07,250 HE STILL HAD 1754 00:49:05,458 --> 00:49:07,250 A GREAT SENSE OF HUMOR. 1755 00:49:07,291 --> 00:49:09,458 HE WAS HOOKED ON LAUGHTER. 1756 00:49:09,500 --> 00:49:12,166 OF ALL THE DRUGS 1757 00:49:09,500 --> 00:49:12,166 THAT RICHARD DID, 1758 00:49:12,208 --> 00:49:16,208 HE WAS HOOKED ON LAUGHTER. 1759 00:49:16,250 --> 00:49:18,417 - TO USE MS AS MATERIAL, 1760 00:49:18,458 --> 00:49:21,542 TO DESCRIBE MS 1761 00:49:18,458 --> 00:49:21,542 KILLING YOUR PENIS 1762 00:49:21,583 --> 00:49:24,750 AND DESTROYING YOUR MUSCLES, 1763 00:49:24,792 --> 00:49:28,041 BUT ALSO TO MAKE NO BONES 1764 00:49:28,083 --> 00:49:29,667 ABOUT THE FACT 1765 00:49:28,083 --> 00:49:29,667 THAT HE WAS SICK 1766 00:49:29,709 --> 00:49:32,625 IS, YOU KNOW, 1767 00:49:29,709 --> 00:49:32,625 WHAT HE ALWAYS WAS, 1768 00:49:32,667 --> 00:49:34,166 WAS COURAGEOUS. 1769 00:49:35,667 --> 00:49:37,208 narrator: 1770 00:49:35,667 --> 00:49:37,208 AS PRYOR'S MULTIPLE SCLEROSIS 1771 00:49:37,250 --> 00:49:39,709 BEGINS TO TAKE ITS TOLL 1772 00:49:37,250 --> 00:49:39,709 ON HIS BODY, 1773 00:49:39,750 --> 00:49:43,166 RICHARD SPENDS THE REMAINDER 1774 00:49:39,750 --> 00:49:43,166 OF HIS LIFE IN HIS HOME. 1775 00:49:43,208 --> 00:49:44,000 - I GUESS IT--FOR ME, 1776 00:49:44,041 --> 00:49:47,417 IT WAS AS CLOSE TO WATCHING 1777 00:49:47,458 --> 00:49:50,458 A FRIEND ON A BATTLEFIELD 1778 00:49:47,458 --> 00:49:50,458 GET WOUNDED, 1779 00:49:50,500 --> 00:49:52,792 AND YOU CAN'T STOP THE BLEEDING. 1780 00:49:52,834 --> 00:49:56,583 YOU JUST WATCH HIM 1781 00:49:52,834 --> 00:49:56,583 SLOWLY SLIP AWAY. 1782 00:49:58,709 --> 00:50:00,917 narrator: 1783 00:49:58,709 --> 00:50:00,917 ON DECEMBER 10, 2005, 1784 00:50:00,959 --> 00:50:03,250 PRYOR SUFFERS 1785 00:50:00,959 --> 00:50:03,250 ANOTHER HEART ATTACK 1786 00:50:03,291 --> 00:50:06,208 AND THE ATTEMPTS 1787 00:50:03,291 --> 00:50:06,208 TO RESUSCITATE HIM FAIL. 1788 00:50:06,250 --> 00:50:07,542 AT THE AGE OF 65, 1789 00:50:07,583 --> 00:50:12,250 RICHARD FRANKLIN LENNOX 1790 00:50:07,583 --> 00:50:12,250 THOMAS PRYOR PASSES AWAY. 1791 00:50:19,208 --> 00:50:24,083 - RICHARD WAS SUCH 1792 00:50:19,208 --> 00:50:24,083 A PHENOMENAL STAR AND ICON 1793 00:50:24,125 --> 00:50:28,000 THAT, AT A CERTAIN POINT, 1794 00:50:24,125 --> 00:50:28,000 A NEW GENERATION EMERGED. 1795 00:50:28,041 --> 00:50:31,166 - DAMON WAYANS AND CHRIS ROCK 1796 00:50:28,041 --> 00:50:31,166 AND EDDIE MURPHY 1797 00:50:31,208 --> 00:50:34,709 AND ARSENIO AND TRACY MORGAN 1798 00:50:31,208 --> 00:50:34,709 AND JAMIE FOXX 1799 00:50:34,750 --> 00:50:36,208 AND MO'NIQUE AND MYSELF-- 1800 00:50:36,250 --> 00:50:38,166 I'M NOT SURE WHERE I WOULD BE, 1801 00:50:36,250 --> 00:50:38,166 PERSONALLY, 1802 00:50:38,208 --> 00:50:40,750 IF I DIDN'T FOLLOW 1803 00:50:38,208 --> 00:50:40,750 THE RICHARD PRYOR LIGHT. 1804 00:50:40,792 --> 00:50:43,875 - OVER TIME, YOU COULD 1805 00:50:40,792 --> 00:50:43,875 SEE HIS INFLUENCE 1806 00:50:43,917 --> 00:50:46,250 ON THIS NEW GENERATION. 1807 00:50:46,291 --> 00:50:49,041 YOU WOULD HAVE 1808 00:50:46,291 --> 00:50:49,041 THE HIP-HOP CULTURE. 1809 00:50:49,083 --> 00:50:51,291 - MUSIC AND CULTURE 1810 00:50:49,083 --> 00:50:51,291 AND THE TIMES 1811 00:50:51,333 --> 00:50:54,542 AND THE DECADES, 1812 00:50:51,333 --> 00:50:54,542 '60s, '70, '80s, '90s, 1813 00:50:54,583 --> 00:50:56,125 EARLY 2000s. 1814 00:50:56,166 --> 00:50:58,875 - BUT WHEN YOU LOOK AT 1815 00:50:56,166 --> 00:50:58,875 WHO HAD THE MOST INFLUENCE 1816 00:50:58,917 --> 00:51:02,208 ON THE GUYS THAT'S DOING IT NOW, 1817 00:50:58,917 --> 00:51:02,208 IT WAS RICHARD. 1818 00:51:03,500 --> 00:51:05,834 - TO THIS DAY, IT STANDS UP. 1819 00:51:05,875 --> 00:51:09,333 HE'S STILL INFLUENCING 1820 00:51:05,875 --> 00:51:09,333 GENERATIONS TO COME. 1821 00:51:09,375 --> 00:51:13,625 - HIS COMEDY SHOULD PLAY 1822 00:51:09,375 --> 00:51:13,625 ON SOME CHANNEL 24 HOURS A DAY. 1823 00:51:13,667 --> 00:51:16,083 THERE SHOULD BE 1824 00:51:13,667 --> 00:51:16,083 A RICHARD PRYOR CHANNEL 1825 00:51:16,125 --> 00:51:19,417 SO THAT EVERYBODY 1826 00:51:16,125 --> 00:51:19,417 GETS TO SEE THE MAN 1827 00:51:19,458 --> 00:51:21,542 AND WHAT HE WAS TRYING TO SAY. 1828 00:51:21,583 --> 00:51:23,166 - POLITICS, RACE, AND RELIGION-- 1829 00:51:23,208 --> 00:51:26,166 HE TALKED ABOUT ALL THOSE THINGS 1830 00:51:23,208 --> 00:51:26,166 PEOPLE FOUND OFFENSIVE, 1831 00:51:26,208 --> 00:51:28,667 BUT THE POINT WAS TO USE 1832 00:51:26,208 --> 00:51:28,667 THE LANGUAGE AS A WEAPON. 1833 00:51:28,709 --> 00:51:33,959 - THROUGH COMIC, YOU'RE ABLE 1834 00:51:28,709 --> 00:51:33,959 TO DIFFUSE AND BRING HUMOR 1835 00:51:34,000 --> 00:51:36,375 AND RELEASE TO YOUR AUDIENCE 1836 00:51:36,417 --> 00:51:38,667 AND PRESUMABLY, 1837 00:51:36,417 --> 00:51:38,667 TO UNDERSTAND SOMETHING 1838 00:51:38,709 --> 00:51:41,000 THEY DIDN'T UNDERSTAND BEFORE. 1839 00:51:41,041 --> 00:51:43,583 HE PRETTY MUCH GOT THAT DOWN 1840 00:51:41,041 --> 00:51:43,583 IN A PRACTICAL WAY. 1841 00:51:43,625 --> 00:51:48,083 - IT OPENED THE LANGUAGE UP 1842 00:51:43,625 --> 00:51:48,083 IN THE COUNTRY, 1843 00:51:48,125 --> 00:51:53,000 AND THE LANGUAGE IS WHERE 1844 00:51:48,125 --> 00:51:53,000 PEOPLE BEGIN TO COMMUNICATE. 1845 00:51:53,041 --> 00:51:55,667 - WOW, 1846 00:51:53,041 --> 00:51:55,667 BLACK PEOPLE, WHITE PEOPLE, 1847 00:51:55,709 --> 00:51:57,375 POOR PEOPLE, RICH PEOPLE. 1848 00:51:57,417 --> 00:51:58,375 IT WAS HEAVY-DUTY. 1849 00:51:58,417 --> 00:52:00,792 POLITICIANS, 1850 00:51:58,417 --> 00:52:00,792 REGULAR PEDESTRIANS. 1851 00:52:00,834 --> 00:52:02,333 LOOK AT HIS AUDIENCES. 1852 00:52:02,375 --> 00:52:05,208 - HE'S NOT "THE BLACK GUY" 1853 00:52:02,375 --> 00:52:05,208 UP THERE. 1854 00:52:05,250 --> 00:52:08,417 HIS JOKES TRANSCENDED RACE. 1855 00:52:08,458 --> 00:52:12,792 HE WAS ALWAYS BRINGING YOU 1856 00:52:08,458 --> 00:52:12,792 INTO HIS EXPERIENCE. 1857 00:52:12,834 --> 00:52:14,500 HE'S PUTTING YOU IN HIS SHOES. 1858 00:52:14,542 --> 00:52:20,291 AS A HUMAN BEING, YOU CAN'T HELP 1859 00:52:14,542 --> 00:52:20,291 FROM RELATING TO THAT. 1860 00:52:20,333 --> 00:52:22,709 - HE KNEW WHAT TO SAY 1861 00:52:20,333 --> 00:52:22,709 TO MAKE YOU LAUGH, 1862 00:52:22,750 --> 00:52:24,917 BUT RICHARD WAS GONNA 1863 00:52:22,750 --> 00:52:24,917 SAY SOMETHING TOO. 1864 00:52:24,959 --> 00:52:27,917 SEXISM, RACISM, PREJUDICE-- 1865 00:52:27,959 --> 00:52:30,166 HE USED HIS FUNNY 1866 00:52:27,959 --> 00:52:30,166 TO GET YOUR ATTENTION. 1867 00:52:33,291 --> 00:52:35,166 - KNOWING THAT 1868 00:52:33,291 --> 00:52:35,166 ALL OF THOSE THINGS 1869 00:52:35,208 --> 00:52:37,041 RAN THROUGH HIS BODY, 1870 00:52:35,208 --> 00:52:37,041 INTO HIS MIND, 1871 00:52:37,083 --> 00:52:39,083 OUT OF HIS HAND, 1872 00:52:37,083 --> 00:52:39,083 OUT OF HIS MOUTH, 1873 00:52:39,125 --> 00:52:40,333 THROUGH EVERYTHING 1874 00:52:39,125 --> 00:52:40,333 THAT HE'S BEEN THROUGH, 1875 00:52:40,375 --> 00:52:42,417 THROUGH EVERYTHING 1876 00:52:40,375 --> 00:52:42,417 THAT HE'S LEFT BEHIND, 1877 00:52:42,458 --> 00:52:43,500 THROUGH EVERY STORY, 1878 00:52:43,542 --> 00:52:45,291 RICHARD PRYOR IS, 1879 00:52:43,542 --> 00:52:45,291 WITHOUT QUESTION, 1880 00:52:45,333 --> 00:52:47,333 A TRUE AMERICAN ICON. 1881 00:52:47,375 --> 00:52:50,000 - THE CONSUMMATE ENTERTAINER, 1882 00:52:47,375 --> 00:52:50,000 THE CONSUMMATE COMEDIAN, 1883 00:52:50,041 --> 00:52:52,375 AND ULTIMATELY, 1884 00:52:50,041 --> 00:52:52,375 THE CONSUMMATE AMERICAN. 1885 00:52:52,417 --> 00:52:55,959 - HE WAS ABLE TO PROVIDE 1886 00:52:52,417 --> 00:52:55,959 MEDICINE FOR THE COUNTRY 1887 00:52:56,000 --> 00:53:00,917 IN A VERY FUNNY 1888 00:52:56,000 --> 00:53:00,917 HYPODERMIC NEEDLE. 1889 00:53:00,959 --> 00:53:02,375 - I REMEMBER HIM SAYING, 1890 00:53:00,959 --> 00:53:02,375 YOU KNOW, 1891 00:53:02,417 --> 00:53:04,917 "MAYBE I CAN TOUCH 1892 00:53:02,417 --> 00:53:04,917 SOMEBODY'S PSYCHE 1893 00:53:04,959 --> 00:53:06,667 "OR CHANGE SOMEBODY'S MIND 1894 00:53:06,709 --> 00:53:07,709 OR TOUCH SOMEBODY'S HEART." 1895 00:53:07,750 --> 00:53:09,083 MAYBE. 1896 00:53:13,458 --> 00:53:15,125 - RICHARD PRYOR CARED, 1897 00:53:15,166 --> 00:53:17,000 UNFORTUNATELY, 1898 00:53:15,166 --> 00:53:17,000 NOT AS MUCH ABOUT HIMSELF 1899 00:53:17,041 --> 00:53:20,375 AS HE DID, YOU KNOW, 1900 00:53:17,041 --> 00:53:20,375 EVERYONE ELSE. 1901 00:53:20,417 --> 00:53:22,583 - HE NEVER LIED TO US. 1902 00:53:22,625 --> 00:53:24,166 THAT'S WHY I LOVE HIM. 1903 00:53:24,208 --> 00:53:26,041 SO I'VE GOT INTO TROUBLE ONSTAGE 1904 00:53:26,083 --> 00:53:28,500 AND SAID CONTROVERSIAL THINGS. 1905 00:53:28,542 --> 00:53:29,959 RICHARD HAS TOO. 1906 00:53:30,000 --> 00:53:31,959 I DON'T LIKEN MYSELF TO RICHARD 1907 00:53:32,000 --> 00:53:34,166 OR GHANDI OR MALCOLM X 1908 00:53:34,208 --> 00:53:36,208 OR MARTIN LUTHER KING 1909 00:53:34,208 --> 00:53:36,208 OR KENNEDY, 1910 00:53:36,250 --> 00:53:38,667 BUT MOST GREAT PEOPLE 1911 00:53:36,250 --> 00:53:38,667 ARE CONTROVERSIAL. 1912 00:53:38,709 --> 00:53:40,667 - I'M GLAD HE WENT 1913 00:53:38,709 --> 00:53:40,667 AGAINST THE GRAIN. 1914 00:53:40,709 --> 00:53:42,208 I'M GLAD HE WAS HIMSELF, 1915 00:53:42,250 --> 00:53:43,959 OTHERWISE, HE WOULDN'T BE 1916 00:53:42,250 --> 00:53:43,959 RICHARD PRYOR. 1917 00:53:44,000 --> 00:53:48,208 - IF SOMEBODY FOUND 1918 00:53:44,000 --> 00:53:48,208 RICHARD PRYOR'S NOTEBOOK, 1919 00:53:48,250 --> 00:53:50,583 THEY WOULDN'T BE ABLE TO STEAL 1920 00:53:48,250 --> 00:53:50,583 ANY OF THAT STUFF, 1921 00:53:50,625 --> 00:53:55,250 BECAUSE IT'S THE PAIN AND 1922 00:53:50,625 --> 00:53:55,250 THE STORY THAT COMES WITH IT. 1923 00:53:58,000 --> 00:54:03,250 - I LIKE THE PEOPLE 1924 00:53:58,000 --> 00:54:03,250 TO SEE MY PICTURE AND LAUGH 1925 00:54:03,291 --> 00:54:07,250 AND HAVE STORIES TO TELL-- 1926 00:54:03,291 --> 00:54:07,250 TELL SOME LIES ON ME. 1927 00:54:07,291 --> 00:54:10,333 "HE AIN'T MADE ME LAUGH, SO... 1928 00:54:07,291 --> 00:54:10,333 I WAS THERE, YOU KNOW? 1929 00:54:10,375 --> 00:54:12,417 I WAS THERE WEDNESDAY 1930 00:54:10,375 --> 00:54:12,417 WHEN HE DROVE UP IN THE"-- 1931 00:54:12,458 --> 00:54:14,041 YOU KNOW, WHATEVER. 1932 00:54:14,083 --> 00:54:16,458 LIKE THAT. 1933 00:54:14,083 --> 00:54:16,458 LIKE, TO BRING JOY. 1934 00:54:16,500 --> 00:54:19,333 THAT'S HOW I'D LIKE 1935 00:54:16,500 --> 00:54:19,333 TO BE REMEMBERED. 1936 00:54:55,000 --> 00:54:57,458 announcer: THIS PROGRAM 1937 00:54:55,000 --> 00:54:57,458 IS MADE POSSIBLE IN PART 1938 00:54:57,500 --> 00:55:00,041 BY CONTRIBUTIONS 1939 00:54:57,500 --> 00:55:00,041 TO YOUR PBS STATION 1940 00:55:00,083 --> 00:55:01,125 FROM VIEWERS LIKE YOU. 1941 00:55:01,166 --> 00:55:02,458 THANK YOU.