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Richard Pryor 1940-2005: Revealed Reality of African-American Experience to Wide Audience

by Democracy Now (reposted)
Groundbreaking comedian, Richard Pryor, died in Los Angeles Saturday at the age of 65 of a heart attack. Pryor's body of work set the standard for American comedy while penetrating and revealing the African-American experience to a wide audience. We speak with journalist and author Mel Watkins.
On Saturday, the groundbreaking comedian, Richard Pryor died in Los Angeles at the age of 65. The cause was a heart attack. Pryor's health had been in decline for many years and he had a long publicized history with drug abuse. He was diagnosed with multiple sclerosis in 1986.

Richard Pryor's body of work set the standard for American comedy while penetrating and revealing the African-American experience to a wide audience. An obituary in Newsday states that his body of work was a "political movement in itself and was steeped in race class and social commentary." Comedian Steve Martin, upon hearing of Pryor's death said to the Associated Press quote "By expressing his heart, anger and joy, Richard Pryor took comedy to its highest form."

Pryor was born in 1940 in Peoria, Illinois and had a stint in the army after getting kicked out of school in the eighth grade. He then toured the club circuit before finding success in television and film. Pryor is one of the few comedians to have had success in both the black clubs known as the "chitlin circuit" and the predominately Jewish hotels in the Catskills called the "Borscht Belt." His career encompassed film, television, concert halls and comedy albums. He recorded more than 20 albums and appeared in more than 40 films. In the early 1980's he was the highest paid black performer in the entertainment industry. Pryor was also was a sought after writer. In 1974 he won an Emmy for writing a Lily Tomlin television special and won the American Writers Guild Award for his script for the movie, "Blazing Saddles" which he co-wrote with Mel Brooks. He was also a frequent writer for the television series Sanford and Son and the Flip Wilson Show. Throughout his career, Pryor won five Grammys and an Emmy. In 1998, he was honored by the Kennedy Center with the first Mark Twain Prize for American humor. His acceptance statement read, "I feel great to be honored on par with a great white man- now that's funny!"

Richard Pryor recorded some of his most successful albums in the 1970's. They were also some of his most political work.

* "That Nigger's Crazy" - excerpt from 1974 Richard Pryor album. After a trip to Africa in 1979, he regretted using the racist epithet and changed the title to "That African American's Crazy."
* "Bicentennial Nigger" - excerpt from 1976 Richard Pryor album.

For more on Richard Pryor's life and career we are joined by journalist and author, Mel Watkins.

* Mel Watkins, former editor and writer for The Sunday New York Times Book Review and the author of "On the Real Side: A History of African American Comedy." His latest book, "Stepin Fetchit: The Life and Times of Lincoln Perry," was recently published.

LISTEN ONLINE:
http://www.democracynow.org/article.pl?sid=05/12/12/1447211
§A Take No Prisoners Comedian and Social Critic
by Counterpunch (reposted)
Only twice can I remember an entertainer agitating audience members to the point that they stormed out of a performance or sat stone silent. Richard Pryor was that entertainer. The first time he did it was at a concert I attended on New Year's Eve at a small club in Hollywood. Pryor cut loose with a bitter, expletive laced, diatribe on black and white relations. He aimed his sharpest barbs at the whites. He needled, hectored, and browbeat them for their racial sins. Midway through his rant, the predictable happened. A trickle of whites made a beeline for the door. Pryor, nonplussed by the sound of their marching feet, didn't relent from his verbal tongue lash. The trickle quickly turned into a stamped. Even then Pryor didn't miss a beat he continued to hurl barbs at their backs.

But Pryor was a take-no-prisoners, equal opportunity baiter. Shortly after he returned from his racial epiphany trip to Africa in 1980, I, and other blacks in the theater audience at another Pryor concert, sat in stunned silence when he stopped the funny stuff, looked dead at the audience, and flagellated himself from the stage, and other blacks that routinely spit out the N-word with every sentence. Pryor could talk. He had practically elevated the word to a high art form. He called the word demeaning, offensive and insulting, and solemnly pledged that he would expunge it forever from his rap. The audience squirmed in puzzled silence. They didn't know whether to cheer or hiss. This was not the Pryor that many of us had come to know and love. The madcap king of irreverent, shock humor. The fall-out from his announcement was swift.

Pryor said that his fellow comedians, friends, and even some fans lambasted him for going soft, and for selling out. Still others accused him of being a black militant. He claims that he got death threats, and garbage thrown on his lawn. He took the heat from fans and friends not because he used the N-word, but because he had renounced it. A reflective Pryor was dumbstruck that a drug addicted, paranoid, frightened, lonely, sad and frustrated comedian (his self-description) could draw public bile for his simple, but very personal step toward asserting racial pride. Pryor's tormenting swipes at whites, and blacks, and his willingness to take criticism for it, was vintage Pryor. He was the artist that didn't just live on the edge, but sharpened the racial edge in his art.

Read More
http://counterpunch.org/hutchinson12122005.html
§Exposing the Lies of Whiteness
by Counterpunch (reposted)
As a high school student, I began listening to the brilliant comedian Richard Pryor. His recent passing reminds me of how he shaped my political consciousness.

With wisdom and wit, Pryor spoke to individual and social relations in the U.S. His special focus was on the color line, the main ingredient for America's class system.

Listening and re-listening to Pryor caused me, slowly but surely, to reflect critically on what I thought I knew about blacks and whites, and the over-all status quo. With each laugh, I grew more aware of the concept of race and class inequality.

Insanity, I thought. Though dimly aware of it at the time, I was beginning to question what black author James Baldwin termed the "lie of whiteness."

What? Whiteness is a racial identity built upon negation.

One is white or believes in whiteness because s/he self-identifies as being non-black, non-brown, non-red, and/or non-yellow. This is not an affirmation of one's humanity but a declaration of one's un-humanity.

Here then, is what I understood to be a major social truth Pryor wrestled with in his performances. Maybe this is why when I finally saw him he smiled without a sign of it in his eyes.

It was a sight, I tell you. Did you see what I saw?

Pryor helped me to see what I had not seen, a nothingness of pigmentation for what it is. How?

Read More
http://counterpunch.org/sandronsky12122005.html
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