{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/930ns0m89f/manifest","type":"Manifest","label":{"en":["Open the Door Richard Pryor: Rating Pryor's Laff Recordings"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Daniel Blazek (Presenter)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eConsidered perhaps the greatest stand-up comedian of all time, Richard Pryor's complex and dramatic life extended into his recording history as well. After releasing his first album on Dove/Reprise in 1968, Pryor had a 1967 Las Vegas melt-down which turned his career inside out. He collected himself in the black clubs of the day, signing with Laff Records which released his seminal album, Craps (After Hours), in 1971. Considered a minor classic, Craps ushered in Pryor's new raw and militant voice. But just as quickly Pryor jumped to the Partee/Stax label and subsequently Warner Brothers, rocketing to success with That N-word's Crazy in 1974. In the 1970s, Louis and David Drozen of Laff Records had an agreement that they could release any album of Pryor's for which they owned earlier material. Pryor’s Laff records trailed upon the success of Pryor's cinema and Warner album releases, even winning a Grammy for Pryor in 1982. Years later Pryor regained control of his Laff masters and three separate re-releases have ensued. Controversy still surrounds the Pryor estate, with a major biopic in the works starring Mike Epps. This presentation seeks to examine and rate the Pryor Laff albums, which spotlight his formative genius and had been neglected by the Goldmine standard comedy guide.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eConsidered perhaps the greatest stand-up comedian of all time, Richard Pryor's complex and dramatic life extended into his recording history as well. After releasing his first album on Dove/Reprise in 1968, Pryor had a 1967 Las Vegas melt-down which turned his career inside out. He collected himself in the black clubs of the day, signing with Laff Records which released his seminal album, Craps (After Hours), in 1971. Considered a minor classic, Craps ushered in Pryor's new raw and militant voice. But just as quickly Pryor jumped to the Partee/Stax label and subsequently Warner Brothers, rocketing to success with That N-word's Crazy in 1974. In the 1970s, Louis and David Drozen of Laff Records had an agreement that they could release any album of Pryor's for which they owned earlier material. Pryor\u0026rsquo;s Laff records trailed upon the success of Pryor's cinema and Warner album releases, even winning a Grammy for Pryor in 1982. Years later Pryor regained control of his Laff masters and three separate re-releases have ensued. Controversy still surrounds the Pryor estate, with a major biopic in the works starring Mike Epps. This presentation seeks to examine and rate the Pryor Laff albums, which spotlight his formative genius and had been neglected by the Goldmine standard comedy guide.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/502/small/open-uri20200922-6764-saq75a_1600815813.jpg?1600801439","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-saq75a.mp4"]},"duration":2395.904,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/502/small/open-uri20200922-6764-saq75a_1600815813.jpg?1600801439","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/502/original/open-uri20200922-6764-saq75a.mp4?1600801399","type":"Video","format":"video/mp4","duration":2395.904,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Open the Door Richard Pryor: Rating Pryor'™s Laff Recordings [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My name is Dan Blazek, I'm at the Re Chorded Sound section at the Library of Congress. I'm interested in comedy history primarily. I'm going to talk about Richard Pryor and his LAF recordings. How's the sound? Can you hear it? So let's. But to do this. Now, if Richard Pryor is the Picasso of comedy, I would say the laugh recordings are much more Monet. Essentially, if you know a Monet. He did haystacks. He did lily pads. And he did them from different times in different places. And you get different colorings and different shades. And you get to see from different angles. The artistry of the work and. OK, well, it's not quite Monet, but it's very interesting. So what I have is a kind of an X planetary background here. It's a search for the music of Marvin Gaye's What's. It's from the album. What's going on? It's actually it features the music of Right On, which was an inspiration to Richard in one of his many transitional periods. At this point, he had gotten into Malcolm X in his writings and made friends with Huey Lewis in Berkeley area. And this was after he did the mainstream commercial success of Ed Sullivan as well. But I was kind of inspired if if you lived through the 70s, you cannot forget Richard Pryor. And I miss him actually, as as just somebody who just you know, he he was totally rebellious and just about every level. But I will take I have a feeling I'm going to go over my time as short as it is at this point, but I will take it. Mike Beale's biography, Richard Pryor was a man who went around telling the truth and making people laugh. He burned himself up and I'll leave it at that at this point.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=12.95,172.22"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But actually, the laugh recordings. OK, something's wrong. OK, there we go. Beleft recordings cover his early life. Not not going to get into his second part of his life. But let's go ahead and do this. I'd like to start off my show by talking about myself. Pretty. And, yeah, I'm I'm I'm. I'm from Peoria, Illinois. Yeah. If that means anything to you. Usually it does make me wonder how many people flip out. You know, Brooklyn. Peoria. Last night, some. I threw up. I got sick. Peoria. And whatever you think when you hear the name of what it's like. The. Strange things about me when I was a kid, I used to wonder, like, did the movie stars go to the bathroom? Did you ever wanted it? You know, like Tony Curtis. I couldn't imagine Tony Curtis going to happen. Maybe like he had somebody go for it. I knew, like John Wayne goes the bathroom. I know my darling guy. I'm gonna go Pupo. A source of. SEC. Like which, you know, God, personally, when you go to you know, I first met God in 1929 outside a little hotel in Baltimore. I was walking down the street eating a tuna fish sandwich. That's right. Nineteen twenty nine. And you eat anything you could get. And I had this boss call on to me and the boss had majesté novar slips. And I walked up to the boss and I said, what? The boss leaves and wholly and resigned. I don't know. What's it. Give me somebody a sandwich. OK, wait a minute. Crap's was not his first album. I have to talk a little bit about his first album, which was released two years before Crap's. It was it's actually a very good album.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=172.61,479.36"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But Richard didn't like it. He thought it was watered down by his manager. He had actually gotten a two year contract with Dove reprieves, but he pistol whipped his manager over money and surprise, surprise, he lost his contract with Doug Opry's not to do a second album. So David Rosen didn't know it, but he signed Richard having attacked his last producer, essentially. When you first recorded prior, how many albums sold that first year? You know, the very first year we gave prior a fairly healthy advance for Baghdad. And we manufactured Braddick probably five thousand copies at that time and shipped to our distributors. And for eight months, for eight months, not one reorder. And it wasn't feeling like a good decision. Yeah. And then one day the phone rang and it rang and rang and it never stopped ringing. This is the crux of why I did this, is that there was no ratings, there was really no description on the Laff albums that Pryor had done that I could find in any really written critiques. The Rollingstone record Guys Act guides didn't rate the laugh albums, at least initially. Nowadays, they're not in there. They don't do comedy and the book guides. But Dave Marsh actually was changing his ratings from the Red Book to the Blue Book. If you if you know those guys, the Rolling Stone guides. But I will say the material is not bad. I mean, it's Richard Pryor. How bad could it be? Most of it is better than other comedians could do, you know, with a lot of effort. But the one thing that is true is that Pryor had a pretty short creative prime. It was from 60, 70 in 1980. And most Alaf records are fall within that prime.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=480.14,700.49"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"These are very definite dates. The walk off, which was begun, his creative prime, where he was at the Aladdin Hotel and said, what the F am I doing here? And walked off. He saw the faces of Dean Martin and other celebrity luminaries in the audience, and he felt like he was just a robot trying to be who other people wanted him to be and not really finding his own voice. And that was that segment, the beginning for his creative attention. The end, of course. He was never the same after this is after he spent a week freebasing and basically set himself on fire with 151 proof alcohol. He had been watching it. It had been on the TV, at least they say a monk had immolated himself. And I guess he was feeling enough self loathing that he went down that path and then started running down the road. He did. He was critically injured, but he came back. Lots of support from his fans and the public. And but he was never quite the outrageous self, no doubt. So this creative prime of 12 and a half. Twelve and three quarter years laugh records were recorded from 1966 to 71, at least the prior albums. And they cover the very early part of his prime. And a little bit before. And it's interesting that we have this history and it's pretty detailed history of what what I would agree is our best stand up comic ever in the US. Laugh Records was guilty of essentially marketing this material as new material, new releases. They basically released their albums to be on the heels of his major league successes within movies and within his Warner Brothers record. So are you serious? Was marketed on a silver streak in 77.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=702.29,839.06"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Even though it was recorded in 68. The Wizard of Comedy is on the back of The Wiz 78. Insane on Stir Crazy in 1980. And Live was on Live in concert in 1982. Pryor was so popular in the late 70s. Other indie labels, including a criminal element such as Tiger Lily, got in on the act and they sprouted familiar unauthorized albums. This included Tiger, Lily World's Sound and Phenix Audio Fidelity. Now just a word about L.A. jail and the Tiger Lily release, which was actually distributed by Roulet and Roulet, was run, as many, many of you know, by Moorish lady who was a racketeer, essentially. And just this is how these albums were largely made. And David Rosen admits this as well, is that he really? David Rosen only recorded Crap's after hours. He bought all the other tapes from essentially drug dealers who bought the tapes from Club Dealer Club. Here's who had recorded Richard with his knowledge. Richard would get extra money at the end of the show if he sold his tape to the club owners for and for drugs or money for drugs. And this is how a whole kind of a black market came about for the records. So my own question is, how do you critique a genius if, in fact, Pryor was a genius? And I I think he's got a lot of genius in him. I came up with five points. How much? How much of LAFF records is unique? There is a lot of repetition and a lot of overlap within the records. How much material is superlative? There's some excellent stuff in it. How much material is derivative? There is some of that as well. Technical limits, the audience, the sound, the editing. What are we dealing with there? And the most important question, how funny is it? And that is something that you really can't measure objectively.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=840.05,991.73"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I tried to be as objective about this as I could. How much laugh material is unique. And this is what took me over a year. This and the next question, because basically what I did is take each track and boil them down to is, is this joke on another album or not? And I did this in a time sense. But as early as 1973, Left began rehashing Crap's. That was the only album they really had the material of. They split it three ways from seventy three to seventy six and put it on three other albums. Prior goes Fox Hunting Down and Dirty and the Richard in the SLA with Richard and Willie, who are eventually a ventriloquist act. And I'm not going to rate these because it really doesn't have any original material on it. Another one that's not rated is Black Jack because it's just another rehash and perhaps show biz is a rehash of Black and the blacksmith. The very best of is, of course, a rehash. And as far as the two two of the other indies for Richard Pryor live albums, this is the same album from World Sound to Phenix Audio Fidelity. So I really only included The World Sound, which came out in 77. So what I did, as I mentioned, is to see if each joke had does appear only on that album or appears on other albums. So I came up with a percentage. Marketing and marketing, but it went anywhere from zero to 88 percent. That albums are not so much redundant, but they're different packagings of and repackaging is of the same material. So if you want unique albums, there's four that are over 50 percent unique and not reproduced on others. Here's the in and out, which I call the outrageous and insane, which are kind of experimental albums.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=992.51,1134.89"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Holy Smoke, which is one of my favorites and Reverend Do Right. Which actually won a Grammy Award. Believe it or not, for Materi, that was released 15 years after it was recorded. This is from the album Outrageous. And this is a portion of something that is original. You only found it. Yeah. Rageous album. I like to watch two policemen beat up two people. And they do it would be good for Nîmes ticket here. It's very funny. You get a ticket because you know what to do. You get a ticket. I didn't know what to do. I walked down and I looked at the grounds. Thank you. I have one from a friend again. Well, it's maybe not the best, but it's not bad. And it is original. It's only on that item. How much? Laughing to a superlative now to do this objectively. Let me tell you a story. OK. There's things that have been written about how the laugh stuff is not that great. That it's all it's all you know, it's it's it's poorly recorded, et cetera. But I don't think prior thought so he fought to get control of it all back in nineteen ninety five with the help of Jennifer Lee, his future and last wife. And they won big. They got control of the albums, the master tapes. That is back from Jozen. And they allowed two engineers to go through it. And then essentially they pulled out what they thought was the best stuff from the the LAF recordings and released this evolution revolution with the blessing of Richard. And supposedly this is how Richard wanted this stuff to be released. Now it's a two c.D album. And OK, if they consider this the best of. Why not compare what's on this to the actual laugh albums to see.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=1136.57,1277.14"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"OK. Again, this took quite a few, quite a few nights to compare. But Steve Accordion, Reggie Collins also did the latest box set of no prior restraint, which was released a couple of years ago, Steve, because he died last year. So there's only Reggie Collins left. But again, comparing evolution revolution to the laugh albums, you get anything from two percent to one hundred percent. They they reprinted they published one hundred percent of the Crap's album on Evolution Revolution. And now this doesn't necessarily mean it's a it's a bad album. Holy smoke, two percent. But it does indicate how much they considered this stuff to be indispensible or not. So there was and actually there's about seven albums that are over 50 percent evolution revolution. Another indication is that there were four albums that were nominated for Grammys. One one I already mentioned that was Reverend Do. Right. So that's another indication if you put those all together, is there's only a few that are left. There's the in and out albums. And then there's the first album, which really wasn't covered by the. By their project anyway. And there was also the L.A. jail album, which actually is a good album. It's fairly cohesive and it's probably the only thing Maurice Levie had, Richard. So he didn't really added it up. But the in and out albums, maybe not the most superlative of materials. I will play a portion of the Reverend Do Right the track, which I think is by far the best track on this album. You can just hear that. This is one person. This is Richard and he. To me, it totally sounds like a woman. Totally sounds like a reverend. And he just excelled at doing these scenarios. That is quite the right reverend.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=1277.74,1431.87"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He put his money, money in. And he said wonderful words. And he took his pain away and my nose fell off. Thank you, sister. And touching stories like that always, always absolved me. Make me feel clean. Good. All right. Well. Be that as it may. One thing that Richard did is after his albums were nominated, at least after the first time, he wrote an open letter to Variety magazine that said he didn't really want his albums to be voted for. And it was open letter to NARAS actually for Grammy that he felt like his 10 year old material wasn't deserving of it. And this was after Billboard. Our laugh celebrated their 10 year anniversary by putting a big billboard ad out and saying how much they were glad to be in business. So it was kind of like a tit for tat kind of act. But how much material is derivative? One thing that he did suffer from in his early career was Cosby itis, which he basically copied Bill Cosby a little bit too much in terms of Meador, in terms of maybe the content. You can hear I'm going to play a clip that plays both Cosby and Pryor and you can compare. First part is Cosby. I see her face and I see. Hi. Where are we? We were watching all of this. I heard a not going to be my last prime. You're not my wife. That's your car. We don't have. No. Anyways, what I did, I went through the albums again, checking for Causby, itis isch albums. One day I rated them one, two, three. One is kind of minimal. Causby three is high. Cosby content two is in the middle somewhere. He had essentially excised his Cosby isms around 68 and Cosby himself was amazed that Richard had done that so effectively because he felt like he was copying to too much as well.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=1434.81,1632.96"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the least Cosby albums are Crap's Wizard of comedy. Holy Smoke, Black Ben Who, Me and the World Sound Album. The technical limits. The audience, the sound, the editing. Now these can be quite variable. On the left records, I was fortunate to interview David Rosen and this is kind of what he's had to say. I asked him about what his philosophy were was and putting these together and hopefully hoping that he'd have something really wise to say. Then he went to a stash and then he went to Warner Brothers and I had no control over. The only thing I did was turn my releases to coincide with Warner Brothers release when I knew there was an album coming out. No, Richard, no. What was your philosophy? How do you put those together? I didn't have a philosophy. I didn't know who I was. I just had a as a material and I made it work. So you kind of just cut them together and then you made some money. That's kind of what it was. I see. Any big money, money, I mean. And he goes on to say that he he definitely sent checks to his manager, who later kind of swindled him out of money as well. So say interesting business at that point. So I will say that just about all the albums have some kind of technical limit echoes jarring at its variable sound hecklers. There's a buzz, but there's some that are choppy. There's a late arrival. Some have a distracting laugh on it. So you can hardly concentrate on the jokes. But they're all they're still all very interesting for from somebody of his stature. I think it's. This is still interesting material. One thing that also happened last year is that these were released digitally on iTunes and Amazon, which they hadn't been.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=1635.06,1779.81"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So which again, tells me that evolution revolution is not pure and that not the ultimate expression of this material is that people still want to see these albums as as the old albums with the with the the funky artwork. So the final thing, is it funny? I think so. And my favorite. Probably. Holy smoke. So I spent a year to prove to myself that I, like, totally smoke. And I did a good job. I thought. It's a dead heat mainly. Does crowd work on that album, which is why it's not. Which which means he doesn't have preset material. He just kind of interacting with the crowd. And I find it very funny. And it's not really reproduced elsewhere. There are some that are just kind of weird. Like, who's that? Who? Who? Me. I'm not him. Outrageous and insane or kind of more experimental. Insane actually must have the earliest material because this is a side on it that is completely. The jokes are much more like Shecky Green that he's telling me more than anything I've heard before. So the rating system, this is based on a four star rating system as it is done in the gold mine. Standard three is considered good. Four is considered indispensible. But the way he writes, the way Ronald L. Smith writes, is that he hardly gives anything a four star. He'll give a three star four things that are actually very good. Rolling Stone is a five star rating system, which I think works a little better. But I had to stick to the Forestar because I wanted to be consistent with what I was missing here. The one I rated lowest was Reverend Do. Right, because I think there's only really one track, and that's Reverend Wright that I think is really exceptional.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=1780.77,1926.09"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Two stars is considered fair. So a lot of them are between two and three stars, which is better than fair and not quite very good. But I would say that a lot of them are have some interesting material. So I'm going to play actually, this only has two bits of commercials. This from Holy Smoke. Tell me what you think. It's one kid on television. It's really great. He really is. But it can't be this great anything. You know, it's brushing his teeth, really hitting a child, walks around with toothpaste, his lead. He read his lines beautifully. I never to be believed in a very jokey rampage to me. You may be everything to me, but one day I got much sleep, took a baseball bat and damn near killed. I have no idea where they. They get real dramatic. You know, they played a real big guy goes, I don't know why I can't get dates with blue eyes. Maybe it's my brain. It could be Harvey. It was iPhone. OK. No response. The favorite album of David Rosen was a black band, The Blacksmith. There is some, like, profound material on that album as well. But it kind of drops off in the second side. So where are we? My recommendation is that you like this kind of thing. Evolution. Revolution, because it has perhaps on it album and it has a it has a good sampling of the other albums, if you like the other stuff. Get some more of the get. Holy smoke. And you can cherry pick on digitally now so you don't have to buy the whole things. The family held Richard is interesting. He's got five kids in, four different mothers of the kids. And his latest wife is not a mother of any of these kids.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=1927.83,2077.11"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So there's like a kind of a definitely a contention going on there. But there's been a lot of lot written that David Rosen didn't get along with Richard, etc.. But there's actually kind of no proof of that in terms of David actually didn't get along with his father. He laughed. Records ended. They broke up. I guess they wound up suing each other. And David Rosen is still doing comedy. He's still recording for upper entertainment. In fact, he's recorded Brian Regan and John Ponet and a lot of other comedians. And in fact, I might be joining him for some kind of recording just to I'd like to see how he does it. And he said on the East Coast, he's going to let me basically write about what he does. So I'm looking forward to that. He's a nice guy, actually. And it's a I can speak well of him. Also in that rain, Pryor, the daughter, one of the daughters of Richard. She's a she's a comedian. And she recorded for upper entertainment drones and recorded her. And they have no problem with each other. I'm going to send this off in a very diversity friendly way. I'm going to play Rain Pryors track here and that I can play the censored or the uncensored version. It's got one F bomb in the uncensored version. Which one do you want to. I'm looking at uncensored. Jeanne. They thought, oh, OK. Sponsored by the Library of Congress. All right. This one talks about family life with Richard. What's that? That's not what I wanted. Maybe. I know you guys want to go see, uh. Just have to hit it once, and dad is a little bit of a narcissist, you know. But he also loved to hear his kids opinions about him as a comedian.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=2078.04,2243.07"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so he asked my brother's. Oh, Junior. Junior, who is your brain and comedian. And my brother's like, Daddy. You became a drag queen. And Britney Spears, you should take over Vegas. And then he gets to my sister, his old soul, Lizzy Desi, who is your favorite comedian. And my sister's like. She got the trendspotting. No, really. She didn't get the trust fund because I told you the hooker's done and she hates when I tell people to. And then he gets to me and he's a rain. Rain. My little rain. Who is your favorite comedian? Well, let's see if Steve Martin buys you any bug in person brethren's this year. There is a Richard Pryor movie coming out next year. It's going to have Eddie Murphy and Oprah. I think he's playing his grandmother. Also. I did just come back from Peoria. They put a statue of Richard Pryor in Peoria just last year. And we'll show you a couple of pictures of that. If you're interested in. That's where his house used to stand. But they put the. Historical society has a photo. Right outside, that's its first commercial photo. That's.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502#t=2244.18,2375.13"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/97502/transcript/19033/annotation/15","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/033/original/open-uri20200924-1389-ejzoxr?1600953818","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/033/original/open-uri20200924-1389-ejzoxr?1600953818"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/255741","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Blazek_audio.mp3"]},"duration":2498.64638,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/255741/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/255741/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/741/original/ARSC_conf_2016_Blazek_audio.mp3?1730749201","type":"Audio","format":"audio/mpeg","duration":2498.64638,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29688/file/255741","metadata":[]}]}],"annotations":[]}]}