As a kid I often heard from my mom, as well as from the teachers in every school I attended, that I needed to behave myself and watch how I spoke. Apparently I was a mischievous little bastard. By the time I started out in stand-up at seventeen, I was careful about my language; this helped me get on television shows and go on the road opening for musicians like Frankie Valli and the Four Seasons and Kenny Loggins.
But one day in my early twenties, I snapped. I didn't want to disappoint my mom, but I couldn't take the censorship of it all. Some of the comedians who fascinated me the most — Lenny Bruce, George Carlin, and Richard Pryor — had also felt oppressed by the things you could and couldn't say in public.
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The earliest stand-up comedy I was aware of was Bill Cosby … I watched Saturday Night Live as soon as I was aware of it, and Monty Python used to be on PBS at weird hours, so I used to try to watch that. And I loved George Carlin on SNL, that was the first stand-up I ever really remember seeing on TV. And then Steve Martin. I guess I was in fifth or sixth grade when Steve Martin showed up, and he was instantly my idol. And Richard Pryor around the same time too, I sort of became aware of him, though I don’t remember the first time I saw him.
I’ve always been fascinated by different accents and dialects. As a kid, I didn’t go out much, so I would spend my time learning how to mimic people. Once I learned how to tape things off the TV, I would oftentimes tape things so that I could mimic them back—standup sets on HBO that I should not have been watching at that age because they were way too R-rated for my eight-year-old brain. I would memorize them and then go and perform them for show-and-tell, and my teachers would call my parents and say that I was doing very inappropriate standup sets. I was a super shy, shy kid, so that was kind of my way of expressing myself—to mimic what I saw on TV. I was a bit of a weird kid, but luckily my parents encouraged it.
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I was petrified when [my parents] first saw me [perform]. Well, also: because I wasn't really funny as a kid, and I felt like I was, y'know, exposing this alter-ego. Y'know? Plus, here I am getting up on stage and manipulating these people, y'know, into laughing. It's a power thing! Y'know? And it's weird to do it in front of your parents.
[On coming out on stage] My first joke at that gig was, 'If you're a stand-up, it's good to be a minority because then you've got something to rail against. If you're black, you can rail against white supremacists; if you're poor, you can rail against the rich. But if you're a white, male, middle-class stand-up, it's shit. So thank God I'm a transvestite.' It went down a storm.
And my mother said—and I remember this as if it were yesterday—my mother with a washcloth in her hand and me standing at the sink, she said, "You must have said something to get them angry." And it was an icicle just jammed into my chest. That my own mother—and with cause! It was not as if I was the greatest kid in the world. I was a troublemaker! I was a brat! I was a big-mouth pain in the ass! But that my own mother would not understand—at that moment I had what, now at age seventy-two I understand, was an enormous epiphany, which is: I really cannot support it, I cannot bear it, when people laugh at me.
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I wasn’t like every other comedian at the time because I was coming from a different perspective. I was an outsider looking in. And I was even different from all the other black comics on the scene because a lot of them were of Caribbean origin and a lot of their jokes were poking fun at Africans. So I got my first taste of success quite quickly just from being different. It was taking it to the next level that was difficult.
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