By Michael Goldstein
By Dennis Romero
By Sarah Fenske
By Matthew Mullins
By Patrick Range McDonald
By LA Weekly
By Dennis Romero
By Simone Wilson
Just about everybody living in America had their own TV variety series at some point during the 1970s. Anyone remotely connected to the show-biz industry was given, at minimum, a summer-replacement slot to see if his or her talent as a grizzled lounge lizard, B-movie has-been or one-hit pop wonder translated into hosting a weekly revue. Most failed, and even the successful shows were vapid and instantly forgettable, barring exceptions by Jonathan Winters, Carol Burnett and Flip Wilson. In 1977, for reasons that still remain unclear, the suits at NBC suffered a temporary bout of good instincts and handed the reins and a big budget to comedian Richard Pryor. He dutifully delivered one of the most brilliant, controversial — and quickly canceled — series in television history. Only four of a planned 10 episodes of The Richard Pryor Show were filmed and aired, without reruns, in that lost era before VCRs. Adding to its mythic status, the series was offscreen for nearly three decades until its recent release on DVD.
“I think he snuck under the radar. It’s a miracle it ever got made,” says Pryor’s wife, Jennifer Lee Pryor, who compiled the augmented DVD with Image Entertainment’s Paul Brownstein. Perhaps NBC thought it was hiring the cuddly, defanged Richard Pryor from roles in popular, pleasant movies like Silver Streak— “It’s all right to say they were formulaic bullshit,” Jennifer says — projects in which he had little creative input. What the network got instead was closer to the profane divining and righteous political subversion of his standup persona. At its best, the show was as fearless as his undiluted comedy albums and concert movies, but blown up with a vividly trippy splendor that was closer in impact to his underrated, surreally ambitious self-directed 1986 autobio, Jo Jo Dancer, Your Life Is Calling.
“You hire Richard Pryor, you get Richard Pryor,” Jennifer says. And NBC wasn’t naive or misled about his intentions. In May 1977, the network had aired The Richard Pryor Special?, the success of which pushed NBC to green-light the series, which debuted that September. The special was no less confrontational and/or tasteless than the series, from its opening skit with John Belushi as the whip-cracking captain of a ship filled with African slaves to Pryor’s Idi Amin addressing the American public (and firing off heavy denunciations of white oppression amid the expected cannibal jokes) to guest Maya Angelou’s (!) bittersweet soliloquy about the drunken husband passed out in front of her — the kind of disarmingly artful pure poetry that hasn’t been seen on prime time before or since.
Regardless of NBC’s true intentions, the series never had a chance. “Not only were we pitted against Happy Days and Laverne & Shirley, the two top-rated shows, but the network censors thwarted me from the git-go,” Pryor wrote in his 1995 autobiography, Pryor Convictions and Other Life Sentences. Instead of toning things down, Pryor made his battle with the censors an ongoing theme. In the infamous banned introduction to the first episode, an apparently nude Pryor directly addresses the censorship controversy, which had been building in the media for several weeks, vowing to never compromise. “I’m standing here naked. I’ve given up absolutely nothing,” he declares, as the camera pulls back to reveal that his genitals have been whited out. Another neon-lit SOS comes at the end of the show when he waves and says, “See you next week,” as a jail door slams shut behind him (tellingly, subsequent sign-offs have him menaced by a lion and running through the swamp to escape a chain gang).
Episode two’s intro finds Pryor playing himself, attempting to address the audience about the previous week’s incident, when the sound cuts out “due to technical difficulties.” A faux NBC spokesman overdubs the comedian’s monologue with help from “tonight’s network-approved script,” which includes statements like “Gosh, I’m just pleased as punch to be continuing on as part of the NBC family” and “I don’t mind the fact that NBC never aired the opening of my first show. I know they were just thinking of me” — as an increasingly agitated Pryor waves his arms angrily, soundlessly. This was nothing like the cutesy, self-referential, mock network-teasing of a David Letterman. This was a bold, bridge-burning act of defiance by one of the few celebrities who didn’t care if he was ever on the tube again.
Contrary to popular belief, NBC didn’t cancel The Richard Pryor Show. Pryor pulled the plug on himself rather than make further compromises. “Overall, it was a nightmare for Richard. The turning point was when they wanted to change the show from an hour to a half-hour,” says DVD producer Brownstein.
“He was a busy boy,” Jennifer says. “The same week he married Deborah [McGuire, with whom he had a chaotic relationship, culminating in the well-publicized incident in which he shot up her car with a gun], he quit the NBC show, and told the crowd at a Hollywood Bowl benefit to ‘kiss my black ass.’” Jennifer, who’s been married twice to Pryor, started working for him, coincidentally enough, in August 1977 as an assistant to Lucy Saroyan, who was decorating his house. “He would leave for work, conservative and nicely dressed, and then I would see him when he came home after the show, all undone . . . they were fucking with him too much.”
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