Throw Back Thursday special. (Do not let the Giant Chicken Heart inspire you to set fire to the couch.) Kelefa Sanneh, in the New Yorker:
A warm summer weekend was just beginning in Salisbury, Maryland, and cars were pulling into the parking lots that surround the Wicomico Civic Center. People had come to see Bill Cosby, who would remind them, that night, that he was “seventy-six and eleven-twelfths years old,” and who surely has neither the time nor the need to do anything he doesn’t want to do. What he does want to do, even now, is comedy: he performs about a hundred times a year, mainly on weekends, following an itinerary that often leads him into what promoters call tertiary markets, where fans are not just happy to be able to see him in person but surprised, too…
Cosby’s current tour is part of a long comeback. His most recent comedy special, “Bill Cosby: Far from Finished,” was broadcast on Comedy Central last year, and he is at work on a new NBC sitcom, tentatively scheduled for 2015, which would reunite him with Tom Werner, one of the executive producers behind “The Cosby Show.” At the same time, he is living through an extended retrospective celebration. In 2009, he collected the Mark Twain Prize for American Humor, and earlier this year Chris Rock presented him with a lifetime-achievement honor at the American Comedy Awards, calling him “the greatest comedian to ever live.” Now comes “Cosby: His Life and Times” (Simon & Schuster), a biography by Mark Whitaker, the former editor of Newsweek; the book, written with Cosby’s participation, is invaluable but not, of course, impartial. Unlike most of the lions of American comedy, Cosby is known for routines that aim to avoid giving offense, and yet he has proved surprisingly controversial: for decades, he was regularly criticized for being insufficiently attentive to issues affecting black communities; more recently, he has been passionately attentive, transforming into a culture warrior to deliver fierce indictments of what he diagnoses as an African-American social pathology. And, in the years since “The Cosby Show,” a series of revelations and accusations—including allegations of sexual assault—have jolted fans who had grown used to conflating his work and his life.
During Cosby’s nineteen-eighties heyday, though, he seemed untouchable, and younger rivals, especially African-American ones, bristled at his dominance. In the 1987 concert movie “Raw,” Eddie Murphy told a story about Cosby calling him up and urging him to use less profanity in his act, for the sake of his young fans, including Cosby’s own son. Murphy recalled being so offended that he telephoned Richard Pryor, who offered some defiantly un-Cosby-like advice:
Long Read: “The Eternal Paternal: Bill Cosby’s never-ending tour”Post + Comments (77)
