Richard Pryor’s FUNNIEST Tonight Show Moments – ht

 

Are you still still straight now? Yeah.  Yeah.  Still I haven’t had Johnny says that I think he’s talking you talking about drugs and liquor right?  yeah. Good. Okay. Richard Pryor transformed The Tonight Show by bringing raw honesty, explosive energy, and fearless comedy. I had to stop drinking, you know, I I used I just got tired of waking up on the freeway driving 90.

You know, you ever do that? That’ll sober YOU UP QUICK. THESE ARE RICHARD Pryor’s funniest Tonight Show moments, trading jabs with Chevy Chase. Uh to see my son in a talent show and spend Mother’s Day with my grandmother. Is he talented? My son? No, he has no talent whatsoever. But you have to go and watch him and encourage him and say, “Oh, wonderful, son.

” What does he do What is he doing in the show?  Uh he yodels and throws.  [laughter]  What was it you said? I didn’t say nothing, man. Huh? Nothing. I just say nothing. You have You got to You got to deal differently when you’re dealing with those people.  [laughter]  You got to I was going to ask you why don’t you tell Johnny you’re going to take over his show?  [cheering]  Chase has that cool, dry, slightly smug way of throwing jokes while Pryor answers with something warmer, faster, and more explosive. Pryor and Tim Conway

breaking down together. There’s there’s sort of a limit to this health thing. I I I agree with many of the health concepts, but there’s a point when you  How would Richie tell if his kid was turning blue?  [laughter]  I mean, well, they have ways. They have ways. No, I can see uh you can see uh I’ve had many black people come in with a chance to see the rash and I say, “Mhm, yes, of course.

” Just to point out [laughter] a a typical spot and they they will and I Oh, yes, we see a lot of that. And I  [laughter]  I don’t know. I’m not I don’t do very well with  [applause]  Conway’s slow-burn absurdity and Pryor’s quick reactive energy shouldn’t fit together perfectly, but they absolutely do, creating contagious collapse. Dr.

Lyndon Smith won’t stop talking. Do you like the When you were exam  [laughter]  When you’re examining a child, is it better to have the parents in the other room? No, no, no, no. We we try to have them in the office there with us so we because we just going to save some time and ask questions and the the child usually is a little happier if the They they often feel the parents have abandoned them and that’s sort of a dirty trick.

 We try and not to be try to try to get through the whole exam without the child crying, which is another kind of a trick. When they get to a certain age, maybe after they’re 12, 13, or 14, it’s amazing how much they’ll let us look at things in their body, but not their parents. So, we’re kind of hiding in the corner there and I’ll let me take a look at this and that.

 You do a lot of that, Doc? You do a lot of that. The doctor keeps talking while Pryor and Tim Conway start losing their composure, making the whole segment stop feeling like a normal interview. The acting black joke. White guys don’t do that well, do they? I don’t know.  Get on down. Get on down. No, they don’t. I had a commercial once.

 I was doing a commercial and I was supposed to play a black cat coming in. And I And I I’m trying to be A black cat? This was a long time ago. Yeah. And I’m trying to walk in and I They said, “No, no, no, that’s so dumb.” I didn’t know what to do. Uh you should have called the black how to act.  [laughter]  The black how to act school? Yes.

 Are there courses? Are there courses if you want to really be with it and get on down and know how to act black and be hip and  Uh yes, there are. There’s one in Mississippi at  [laughter]  The humor jumps from identity to sports to Johnny’s own misfire as Pryor keeps the whole thing moving without letting it harden.

 The return after setting himself on fire. Welcome back to the world, my friend.  you. They all mean it, you know, it that I don’t know where to start. First of all, how you feeling? I FEEL WELL.  [laughter] [applause] [laughter]  DON’T DO THAT TO ME. I WAS When you you got When you walked in, I wanted to go over and I really wanted to put my arms around you and as soon as I did it, I said, “My god, he could be in terrible pain and he won’t say anything.

” People I went I went out to a nightclub here in LA one time and people beat me to death. By I MEAN AND RICHARD  [laughter]  MY MAN. HE WALKS INTO MATERIAL THAT COULD HAVE BECOME heavy or self-protective and instead turns it into something vulnerable and sharply comic. Pryor’s kid told everyone get off my back.

Right? I mean, my kids One day my daughter Rain just came into me and she was talking about my grandmother had been took her for a ride and was talking to her. It was a lot of pressure for her, you know, she’s 8 years old. She looked at me and said, “Daddy, I just wish they’d get off my back.” He turns a basic family story into a full humiliation routine, treating a child’s attitude like a serious social crisis. First appearance in 1968.

 Would you welcome, please, Richard Pryor?  Uh thank you. I’m I’m happy to be in show business. And I am. I I started in show business 1946. Uh maybe some of you read about it.  [laughter]  Uh I was in a I was in a play called Rumpelstiltskin. Uh I I was the wind. I I run across stage, you know, I had a little uniform on across stage going You can already feel the speed of thought and the sideways way he attacks a story, making ordinary talk show conversation feel unstable in the best way. Richard Pryor on The Tonight Show,

1987. You turn around and everybody says what they’re going to do, you know, I’ve been so-and-so. You turn around and say, “Oh, by the way, I’m getting married tomorrow.” And we went off the air. Yeah.  People came up to me then and said, “Was he kidding or was he putting you on?” No.  followed up on that.

 No, I  I know what happened, so why don’t you tell everybody what happened?  Well, I got married.  [laughter]  What did it I got married to I’m married now 3 months and I have A SON, TOO.  [laughter]  YOU’RE A FAST WORKER, AREN’T YOU? I GET right in there and say I want him to COME OUT TALKING.  [laughter]  THIS APPEARANCE IS fun because Pryor feels older, looser, and completely comfortable being himself [music] on Carson’s stage as by this point he doesn’t need to force anything.

 Sharing the couch with George Carlin. You guys have never worked I you’ve never been on a show together, I know that.  No, we worked together in the Village.  We started out in uh You know, George used to wear suits. That’s right. Well, George has gone through various career changes and Clothing changes. Yeah.

 How I I was changing clothes, George.  You were what? Colored in the You were colored in those days. Yeah, we started 1965 down there down at Cafe a Go Go. Yeah, we used to idolize Bill Cosby. Yeah. We used to go see him. He was hot. That was something to go see Bill. Yeah. Did you ever You don’t Do you ever even unconsciously pick up one of somebody’s line and use it? Oh, on purpose? Oh, I mean you actually Carson’s own archive singles out this show because it really is a double dose of comedy royalty as the fun is not just

that two giants are present, but that they’re funny in totally different ways. The 1974 appearance. I remember farm dudes we used to have a lot of semi race riots.  [laughter]  Semi race  Yeah, you know, you’re just fighting in your neighborhood, race riot in your neighborhood. Then Monday you go to school and wait till the weekend.

 [laughter]  But we used to and it used to be a big hillbilly dude, man, used to walk in It was Charlie Eggie. He didn’t want nobody to walk through. He say, “Hey, look, man, you walk around the other way, you understand? I’d dust you off.” And it was a big farm guy. I said, “Well, I’m just coming along in the kind of way I can, just walking down through here.

” I said, “Don’t you come down to him.” And the cat didn’t fall.  [laughter]  Yeah. And the dude went, “My man.” HEY, THAT’S A FUN I’LL HAVE A DRINK. THIS FULL visit is one of the best early examples of Pryor bringing story vignettes and conversational stand-up onto Carson’s stage as he’s joined by Fernando Lamas and William Peter Blatty.

And I was always scared that people, you know, wouldn’t come. Yeah. So, I’ve been afraid to do a concert cuz it’s very embarrassing, right, to walk out  Nobody there. Four or five people. Yeah, that’s Then it used [laughter] to give you security. Do you have politicians? I mean, people from in government? I don’t know. Hope not.

 What do you do?  [laughter]  Did you go out and pretty heavy, did you?  be friendly with them now. You grew up back in Peoria, as you mentioned, Peoria, Illinois.  Peoria. Yeah. Were you Thank you. Influenced But Pryor is the one who gives the show its snap and danger. What makes it funny is how casual he seems while saying things that still feel quicker and less polished than most talk show material of the time, making it feel like a transitional Pryor moment.

 The bird story. Uh bachelor evil. He’s just a He’s like Richard. Yeah. Okay, we’re going to take a little break here and then we’re We’re going to ask him if it’s all right. We have to pause for commercial. Would you like to go for a commercial? He said, “No.” No. Well, we have to.  [laughter]  WE’LL BE RIGHT BACK.

 [applause]  THIS IS ONE OF THE FUNNIEST LATE PERIOD Carson Pryor clips because it has everything he was great at combining show business promotion, political side comments, and a strange physical anecdote that turns into a mini routine. How you doing?  I’m great. I feel wonderful.  Yeah. You’re looking good.

 Thank you very much. Yeah. So happy to be here, Johnny. I’m at home, you know, and and and I’ve been here now about 6 months. You know, I I haven’t been back to Hawaii. I’m going next week, but I’ve been here and I watch television here. I don’t watch in Hawaii much. And I turn on TV and I watch and I go Mhm.  [clears throat]  That’s that’s good.

And I I don’t understand. I don’t get it. I mean, I see I see the President Reagan on TV talking and I don’t get angry or nothing. Most people be angry. I just go Mhm.  [laughter]  The episode descriptions note that he discusses Superman and seeing Ronald Reagan while surviving upload titles also flag the bird attack as a major comic highlight showing the range of material.

 Pryor makes celebrity life sound less glamorous than cursed, which is exactly why it works as it’s a terrific reminder that no matter what the topic was, he could drag it into his own weirdly wounded comic orbit. Everything he was great at gets showcased demonstrating his complete skill set as show business promotion, political side comments, and physical anecdote cover multiple modes.

 I wonder who lets him on. You know, I I I say to myself, I said, “If this man was standing on the street corner talking like he’s talking, you go, ‘Excuse me.'” Cuz they they they’re talking they they they’re talking about now they’re talking about something real dangerous. They’re talking about nuclear missiles. I mean, [clears throat] they’re talking about messing up all our Sundays.

HE discusses Superman and Reagan showing celebrity context while the bird attack being a comic highlight proves his physical comedy works. He makes celebrity life sound less glamorous than cursed inverting expectations perfectly [music] as no matter the topic, he drags it into his weirdly wounded comic orbit showing his unique perspective.

 This late period clip maintains quality as everything he was great at proves his consistency. The strange physical anecdote turning into a mini routine demonstrates his structural skill. It’s a terrific reminder of his range showing enduring talent as that weirdly wounded comic orbit is his signature perspective.

 Celebrity life sounding cursed rather than glamorous subverts typical talk show material completely. The weight loss appearance. You would do that to Superman?  [applause]  You got a film piece of film? We got a film clip. Does this need a set up? I don’t know. I I think it’s the film clip of me skiing. Is that the one skiing? Oh, yeah.

 This is I’m here with the with the bad guys and I’m talking to Robert Vaughn and Annie Ross and Pamela Stephenson. Okay. Here’s an excerpt from Superman 3. Have you ever I haven’t seen it yet. I’m going to see it in Washington with at the White House.  Right. President. Yeah. I’m going up to the president. I’M “MR.

 PRESIDENT, IT’S A NICE PLACE YOU HAVE HERE.” BY THIS point Pryor is older and experienced, but he’s still incredibly funny when he gets rolling on something material and slightly vain like his body or his car. As the official episode records describe him talking about losing 20 lb for a role and driving his Ferrari across the country.

 This is exactly the kind of rich guy absurdity he knew how to puncture is what makes the segment work is that he never sounds like he’s bragging in a straight line, but keeps turning prestige into silliness. It’s not the wildest Pryor Carson clip, but it’s one of the most enjoyable because the swagger and the self-mockery are perfectly balanced creating comedy from the tension between success and humility.

 Being older and looser shows his age progression as remaining incredibly funny proves his sustained talent. He gets rolling on material and slightly vain topics like his body or car as losing 20 lb for a role and driving his Ferrari across the country creates specific details. This rich guy absurdity is exactly what he knew how to puncture displaying his self-awareness as he never brags in a straight line demonstrating his indirect approach.

 He keeps turning prestige into silliness being his technique as it’s not the wildest, but one of the most enjoyable clips showing a different quality. The swagger and self-mockery are perfectly balanced creating comedy from the tension between success and humility. The October 9th, 1986 time frame provides the exact date as official episode records confirm the details.

 Losing 20 lb for the role shows professional dedication while driving the Ferrari across the country suggests extravagance. He knew how to puncture this proving it was a conscious choice as avoiding the straight line shows his complexity. Turning prestige into silliness repeatedly demonstrates a clear pattern and it’s most enjoyable because of the balance showing craft over chaos as the comedy comes from tension proving his sophisticated approach. Co-writing Blazing Saddles.

 Uh especially they they would speak to anyone, you know, DRACULA, ANYBODY. HEY, BOY. WHERE’D YOU GET THAT CAPE? LIVE AROUND HERE? WHO IS YOUR PEOPLE? SURE IS UGLY, [ __ ] WHY DON’T YOU GET THEM TEETH FIXED? Blood dripping all out your mouth. Why don’t you take care of yourself, boy? He like to go to the bars and watch fights.

 People love to fight when they get drunk. I I used to watch them. Especially they always want to fight Allwell. Allwell was a friend of mine. He fought the police. I knew he was bad. Right, cuz the police will do anything to you, right? You know, they “Move along. Stop having so much fun.”  [laughter] [applause]  This is funny because Pryor isn’t just plugging a movie or telling a production anecdote, but talks about Blazing Saddles with the same sly, slightly crazy energy that made his stand-up so strong making even the behind-the-scenes

material feel like a bit. The laughter comes from how naturally he turns writing talk into character talk, diversity talk, and absurdity without sounding like he’s delivering prepared lines showing it’s one of those Carson clips where the subject is interesting on paper, but Pryor’s brain is what makes it great.

 He elevates typical talk show promotion by bringing genuine comedy fire to what could have been dry Hollywood gossip as his storytelling captures the chaos of the writers’ room. The way he describes working with Mel Brooks reveals both admiration and mischief showing the creative tension that made the film work. He discusses the controversial material with complete honesty never softening the edges or pretending the jokes weren’t designed to provoke.

 His delivery makes you understand why he was essential to the film’s voice even though studio politics kept him from starring in it. The frustration of that reality bleeds through, but gets turned into comedy rather than bitterness demonstrating his ability to transmute pain. Richard Pryor proved that The Tonight Show could handle real emotion, dangerous comedy, and fearless honesty by bringing his complete self to every appearance and making vulnerability as funny as it was powerful.

 Which Richard Pryor Tonight Show moment do you think was the funniest? Let us know in the comments and don’t forget to subscribe for more memorable Tonight Show moments.