- 10/06/2025
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FunTranscript
00:01Tonight's broadcast is brought to you by...
00:04Ben Gay.
00:14I ain't gonna touch it.
00:18Ben did.
00:30You can tell what you wanna do.
00:35Let's face it.
00:36Women free me, they wanna be me.
00:40You could walk over the moon, float like a balloon.
00:42You see, it's never too late and it's never too soon.
00:44Take it from me, it's all right to be.
00:46Hey, I'm downtown, Julie Brown.
00:48And how did you feel knowing prejudice was obsolete?
00:51And all mankind danced till the exact beat.
00:53And at night it was safe to walk down the street.
00:55Man, I couldn't even go near the heat, man.
00:57You can tell what you wanna do.
01:00It lives in color.
01:01Now this is art.
01:03You can tell what you wanna do.
01:07Go on, girl.
01:09One day I was heating up some ham hocks and my ponytail coat on fire.
01:13You can tell what you wanna do.
01:16It lives in color.
01:19It lives in color.
01:21Hope he don't play that.
01:23You can tell what you wanna do.
01:27It lives in color.
01:28I think to a large extent the reason that In Living Color was as successful as it was,
01:39was because there was a really clear vision of what the show was going to be.
01:42Arsenio Hall!
01:44And it was because Kenan really knew what he wanted to do.
01:49Now I couldn't begin the show without introducing a very good friend of mine.
01:52Stopped in tonight.
01:53We were hanging out at the China Club last night.
01:55A real party animal.
01:56Won't you please give it up for my main man, Pope John Paul.
02:00All the pistons were working, man.
02:01It was all rhythm.
02:02Right director, the right writers.
02:03Everything was happening, man.
02:04In just ten minutes.
02:05Count them five.
02:06Ten.
02:07You didn't think I could do that, huh?
02:08Ten minutes.
02:09You too can look and sound just like Milli Vanilli.
02:13There was more freedom on In Living Color.
02:26There was more opportunity for the cast to contribute.
02:28We did this pilot and it was fun.
02:32It was great.
02:33It was buck wild.
02:35I mean, we did everything.
02:37Anything we wanted to do.
02:38You better give me back my scarf.
02:41Don't hate me because I'm beautiful.
02:45I didn't think it would ever get on because no network would put this on.
02:49It was too outrageous.
02:50That pilot sat around for six months.
02:52I knew that when that pilot got on the air what it was going to do.
02:55You know, it was just simple, simple.
02:58I mean, it was just simple fundamentals of just entertainment.
03:01Just straight funny.
03:03Get back to work, you crusty old heath!
03:09Oh, Lord.
03:10I thought I flushed my toilet.
03:14Everybody had seen the pilot to In Living Color.
03:16It wasn't called In Living Color.
03:17It was just, dude, what did I see you do?
03:20This was the funniest thing I've ever seen.
03:23Ain't that the truth, Ruth?
03:26Somehow the tape got out and it started circulating around town.
03:29And it was almost a year before we got picked up.
03:32Everybody saw it.
03:33I would do a guest spot here.
03:34I would do a film there.
03:35Everybody had seen this thing.
03:37And it got to the point, I think Barry Diller was the president then.
03:40They didn't know if they were going to pick it up.
03:42Vanity Fair either reviewed it or did an article on this really funny, incredible pilot.
03:50So they were almost forced to pick it up.
03:54And after that, it was ohhh.
03:56Come on, buddy.
03:57Come on, buddy.
03:58Come on, buddy.
03:59Come on, buddy.
04:00Tell what you want to do.
04:01In Living Color.
04:03In Living Color.
04:04The King, ladies and gentlemen. The King!
04:16Marlon, who's Kenan's little brother, was still living at home, and they said after
04:20they showed the pilot, they called Marlon and he said, you stopped crime in New York.
04:25Yo, yo, yo, all you bad bargain hunters out there, welcome to the Homeboy Shopping Network.
04:32Yo, we're the hosts with the most, I'm Wiz, just the Iceman.
04:37Sean, yo, show them what we got.
04:44For all this stuff, it's like a warehouse set.
04:49Everybody stayed home to watch this.
04:51For your automotive needs, we got car phones, we got car stereos, we got car alarms.
04:58And if you act now, we could probably get the car.
05:01It was an immediate hit.
05:03Finally, finally, finally in my career, I was on the hippest show on TV, which was great.
05:09This ain't the Oprah Winfrey Show?
05:10Excuse me.
05:11We had so much fun.
05:13I mean, just so much comedy, so much talent, knowing you were part of something that was special.
05:19Captain, intruders are approaching the bridge, sir.
05:25Who are you?
05:27I am the Minister Lewis Farrakhan.
05:30From a production standpoint, the two shows, Saturday Night Live and In Living Color, were different.
05:39Basically, at a very basic level, because Saturday Night Live, of course, was live.
05:43And then Living Color had the advantages of being on tape.
05:48We accept the real you at Hefty World Condominium Estates.
05:53Hefty World accepts you because it's a specially designed condominium community just for plump or husky people.
06:08The second you arrive, our 24-hour forklift service picks you up and whisks you home, where condominium attendants roll you up the reinforced ramp to your extra-wide entrance ramp.
06:22The fact that it was on tape enabled us to be a little bit more daring, take some more risks, up the ante in terms of production value, and do things that you couldn't do under the restraints of live television.
06:39Let me tell you what you were thinking. You were thinking that you would leave us sitting home barefoot and pregnant while you go out hanging out with your friends, hanging out in my condo on Lexington Drive, eating at my restaurant, putting out my money!
06:51That's what you thought! That's what you thought!
06:54Do you hear me? No, he's my lover!
06:59As we started producing the show, and as the show was going on, you could see more and more that it became more important,
07:08and it was just this... turned into this big phenomenon.
07:11They finally gave us a chance to do what we do.
07:14The most productive is when we just kind of went out there.
07:17Hey, hey, hey, that's mine!
07:19So?
07:20Wait a minute, why do you do that, boy?
07:23Because I wanted to, duty brain!
07:25You better shut up!
07:30Oh, brothers, brothers!
07:32There's no way to settle things!
07:34There's nothing to be gained by fighting!
07:37Unless you get paid for it!
07:39Don!
07:40Don King, are you causing trouble again?
07:45No, Miss Patterson!
07:47This was like the closest to being in a repertory company, because if it was our sketch, then we were the lead performer in that sketch,
07:56and then all of the other people in the company would play smaller roles.
08:00So it was really even, and up and down, and in and out, and you got to play different things all the time.
08:06And you were free to come in with the smallest role.
08:09If you could make it funny, like on Snack and Shack, I just was some old dude sitting there, and I just started yelling stuff out.
08:14I'd like a new fork.
08:15Yo, fork is dirty!
08:16Oh, baby, ain't nothing but a little bit of dried up cabbage.
08:24I'll take Joan Collins to block!
08:27Everybody was in it, and that was the most fun when we all worked together.
08:31His wig, itching!
08:37Feel like something done crawled up under my head and died!
08:41Disgusting!
08:42I'd really like to speak to the owner, please.
08:44Baby!
08:45Oh!
08:47Oh, boy, please speak to the owner.
08:49Oh, my hat's on now, though.
08:51You wanna speak to the owner?
08:52Yeah.
08:53Leon, lady over here wanna speak to you!
08:56I can make a booger talk!
08:58All the actors had different sketches and stuff that they could do.
09:04I was supposed to be the father in the Headley sketch, but I couldn't really do a Jamaican accent.
09:10It sounded like a leprechaun.
09:12So that went one, too.
09:14Hey!
09:15Hey!
09:16Hey, boys!
09:17Hey, boys!
09:18Yeah, so that was passed on to Damon.
09:20Aren't you on a business trip?
09:21Well, I'm on a vacation.
09:23Vacation for how many jobs?
09:25One.
09:26One job!
09:27You lazy goat!
09:28You have some big, great, big, hairy nurse sitting up here in a business class with hard-waring people.
09:34You should be bought there in a lazy class.
09:36No, ma'am, but I purchased a business class ticket.
09:39Well, I gotta tell you something.
09:40You ill-gotten lazy money is no good here.
09:43This class is for hard-working business people.
09:45Get out!
09:46Security!
09:47Security here!
09:48Get up!
09:49Get up!
09:50You're under lazy arrest!
09:51Getting up out, you lazy goat!
09:52Lazy money!
09:53Go!
09:54Kena was good at taking what we already had and then enhancing it.
09:59So, Kena would step back.
10:00Like, if you had a character that you were working and he liked the character, he'd let you work the character with the writers, work your stuff, work your sketch, then he'd come in later and he'd fine-tune it.
10:07Yo, that girl ugly, man.
10:08That's the best kind.
10:09What?
10:10I said, the ugly one's the best kind, man.
10:11They don't ask for much.
10:12What you mean?
10:13We had Homie the Clown.
10:14Are you a real clown?
10:15No, I'm your daddy.
10:16That's the clown.
10:17We had Bonita Boutrell, which was a character of Kim Wayans.
10:20I know everybody in this neighborhood.
10:21Mm-hmm.
10:22Yeah, girl, there's some fine people in this neighborhood.
10:23There's a lot of trash, too.
10:24I ain't one to gossip.
10:25He never messed with our natural stuff.
10:26He never messed with stuff that we had going inside of us.
10:28You know, he would pull us to the side and sort of just, you know, mold it, you know, and enhance it, but he never got in the way of our own creative process.
10:38If we had something, man, he'd just let us go with it, man.
10:41He let us go with it, man.
10:42He let us go far, too.
10:43Guys can't get enough of me.
10:44They're always singing, oh, baby, oh, baby, I love you.
10:46I need you.
10:47Bull .
10:48Just give me the goods and get it out of here.
11:15Kenan was out front.
11:17Kenan did not pit actor against actor.
11:21He really encouraged everybody to be their best.
11:25Kenan was the one that was the driving force of,
11:29and he was also the one that kind of turned the show
11:32into something different and making it something special.
11:35Man, do you know what they say about you out there?
11:37Huh?
11:38Greasehead, do you know what they say about you?
11:41They say that the reason you're in a beauty school
11:44is because you're too stupid to go to a regular school.
11:47I happen to think they're right.
11:49But when I'm through with you,
11:50you'll be the smartest dumb people out there.
11:53What do you want, ugly?
11:54I don't want to go.
11:57Kenan wanted the cast to give us as much energy as they had
12:02and to make every contribution that they wanted to make
12:05and to make the sketch their own
12:08and to make it as good as they could make it.
12:10What makes you think you can be a beautician?
12:12Huh?
12:12What makes you think you can give beauty tips to somebody?
12:15Look at this, sir.
12:16Not ugly.
12:16You're ugly, boy.
12:18Is your parents ugly?
12:19Yeah.
12:19What, you going to go up to look just like them?
12:21If you got ugly parents, you might as well just jump out the window.
12:24Do you use chemicals in your hair?
12:26No.
12:27Do you use chemicals in your hair?
12:28Yeah.
12:29Now you got a bad perm and you're ugly.
12:31Don't worry about me to have a ugly boy with a bad perm.
12:33Just go on and jump, son.
12:34Okay.
12:35He was the best producer I ever worked for.
12:40Because, honestly, he made everything better that he touched.
12:43He, uh, you would bring a sketch down to him that wasn't working on the floor and he would
12:47make two or three really quick suggestions because his vision was really clear.
12:50Cinderella wanted to meet the prince.
12:52Now everybody's talking about prince, prince, prince.
12:54Let me tell you something about prince.
12:56Prince is nothing compared to me.
12:57That's right.
12:58Prince could not sit next to me on my throne unless he's in a high chair.
13:01Oh, that's right.
13:03I've seen him, that little tiny man, posing naked on a horse.
13:06Trying to cover up with one hand.
13:08If I had to cover up with one hand, why bother?
13:11Shut up.
13:13Keenan's mandate was just be funny, be true to ourselves and push ourselves to the limit.
13:18And that's what we did.
13:19You know, we wrote.
13:20You know, we did improv.
13:22You know, we did spur of the moment everything, man.
13:25Oh, that's right.
13:26I can't tell this story no more.
13:27I have to tell you the real story.
13:28That's right.
13:29Everyone stole from me.
13:30Stephen Warner and Ray Charles, I was blind first.
13:33Oh, yeah.
13:34I'll be that first.
13:35Oh, Diana Ross.
13:36Diana Ross, tall, glamorous woman.
13:38You know who'd do that first.
13:40Oh, and James Brown stole my hair.
13:42Stole my cape.
13:43Mm-hmm.
13:44He's in prison right where he belongs.
13:45Oh, yes, he is.
13:46And you know, Papa's got a brand new bag now.
13:49Mm-hmm.
13:50Probably got some shoes to match.
13:51Shut up.
13:55Keenan had a real, real sense of excellence as far as comedy went and as far as performance
14:02went.
14:03He really pushed us a lot.
14:04But a lot of us were equipped for that, too.
14:06You know, a lot of us were that kind of machine.
14:09You all must be very, very proud of your success.
14:16Well, we first started out...
14:20Will you come back and do another song for us?
14:24Ladies and gentlemen, give it up for Find One Mammal.
14:28He had a very clear vision, but was always open, you know, to include others' thoughts, ideas.
14:36If a sketch didn't work with one person, we would pass it down and say, well, why don't
14:41you try it?
14:42Who can do a good Mike Tyson?
14:43Let's say hello to Mike Tyson.
14:45Hello, Michael.
14:46Hi, Michael.
14:47Hi, Robin.
14:48How you doing, Chuck?
14:49Hi there, Mike.
14:50How are you?
14:51Well, I gotta say, I'm really ecstatic to be here.
14:52The individuals that I work with when they live in color were and are among the most
15:10genius people I've ever been around in the business.
15:13You know, they all are so multi-faceted and so multi-talented and also just very balanced
15:20out humans, too.
15:21The thing that most stuck out with different cast members was their ability to do characters.
15:26Like this the other night, he says to me, he says to me, let me know if I hurt you.
15:43If you hurt me, I says the last time I saw something that looked like that, it had an
15:51eraser on the end of it.
15:53You know, the more characters you can bring to the show, the better off it is for the
15:59writers.
16:00That skeleton is an example of biological petrification and is to be used for scientific purposes only.
16:08Oh, yeah?
16:09Well, I think it looks like your mom.
16:11Does not!
16:12Kenan wanted one white woman and one white guy.
16:16So, when we were thinking of that, and we saw many people, he had mentioned, oh, there's
16:20this guy who worked with Damon, who's really funny.
16:23You know, we should think about him.
16:25The American Heritage Dictionary defines a transition as an instance or process of changing
16:31from one form to another.
16:33So, this is one transition.
16:35I remember watching and thinking, my God, this guy is doing incredible things with his
16:45body and his face.
16:47What is that?
16:48But, needless to say, he was an amazing addition to the cast.
16:54Wait till they get a load of me.
17:04Jim really goes all out.
17:07T-I!
17:12T-I!
17:15Those were the sketches that really, you know, were sort of wild and different.
17:22Welcome to the first meeting of complete self-defense for women.
17:27I'm Bob Jackson.
17:29I have a black belt in karate.
17:34I've studied martial arts for over 20 years.
17:37Jim, as the show got on, just got better and better and better.
17:42He was somebody who you would just see grow comedically every week and grow more confident.
17:47Ahhh!
17:54hahaha hahaha
18:00Yeah!
18:02Like an entrance!
18:05The lady, the controversy, the perfection, Vera DeMilo!
18:09Vera de Milo!
18:11It was pretty outrageous, you know,
18:12and it got bigger and bigger as it went along.
18:14I mean, Vera de Milo was not anything like it turned out to be
18:17when we did it in rehearsal hall, you know.
18:19You know, sometimes the cast would come out of makeup and wardrobe,
18:23and you say, that's what they're going to look like when they do this?
18:27You know, you never really had an idea.
18:29Jim specialized in the physically grotesque characters
18:31because he was so rubbery himself.
18:35Oh, baby! She is hard as a rock!
18:38Magnificent!
18:40It was true. It was fun. It was creative.
18:44It was, you know, just a slice of everything.
18:47I mean, it took chances. It was edgy.
18:50Men on film, you know, just think about that.
18:52There was some kind of curtain.
18:54It comes up, and it's raining men.
18:57And now, Public Access presents Men on Films.
19:03Hello, I am Blaine Edwards.
19:05And I'm Antoine Merriweather.
19:07And welcome to Men on Films.
19:09We would take totally straight movies that had no, uh, homosexual point of view,
19:15no gay point of view, and just put it in there.
19:17And once we found that, that was the key to the characters, I think.
19:20Now I'd like to talk about an exciting new film, Karate Kid Part 3.
19:26It's all about men working out their problems in a very physical way.
19:30It was all so primitive.
19:32Mm-hmm.
19:33And you know, I really enjoyed Mr. Miyagi, played by little Pat Morito.
19:36Ooh, and that Ralph Macchio.
19:38Three words.
19:39Fab, you love him.
19:42Damon and I started, and immediately people just howled.
19:46I have to disagree.
19:47I disagree.
19:48I disagree.
19:49There's just too much violence in this movie.
19:51Don't get mad.
19:52As I remember, Damon and I just thought up a snap for that first sketch and worked it out
20:01and went out there.
20:02Now I'd like to talk about a film I've been anxiously waiting to see, Great Balls of Fire.
20:11I ain't gonna touch it, but the title alone gets two snaps up.
20:17So we do the sketch, it kills, the next day my agent calls and she's like,
20:23they're doing two snaps at Columbia.
20:25Hold on, I'll call you back.
20:26They're doing two snaps at Paramount.
20:27This is gonna be huge.
20:29Welcome to Men on Art.
20:31It's Michelangelo's Statue of David.
20:36Gasp and swoon, I just caught the vapors.
20:40Welcome to Men on Books.
20:42Little women.
20:44Pay to debt.
20:45Moby Dick.
20:47This book gets the yet unheard of Zorro snap.
20:51In Z formation.
20:56There were times when we couldn't get through tape.
20:58You know, tapings or rehearsals because it would be so funny.
21:02One of the favorite things was the wino.
21:05My name is Anton and this is my house slash bathroom slash kitchen slash backyard slash library.
21:16Oh my goodness.
21:18Oh my goodness.
21:19Oh my goodness.
21:20Because you know what?
21:21Most of the winos that I knew growing up were hilarious.
21:25They were hilarious.
21:27And he just got it right.
21:28Now let's get started.
21:30Shall we?
21:35Now in order to add on this new room, we're gonna have to make a new doorway.
21:42So what do we do?
21:44We mark it.
21:45And then we cut the hole.
21:46Wait a minute.
21:47David Allen Greer.
21:48My favorite, favorite, favorite, favorite, favorite, favorite is when, uh, Latina?
22:05Latina?
22:06My name is Calhoun Tubbs, known to my friends as Hard Fingers.
22:11See, that's cause back in 1947, I once played the guitar for over 36 hours straight.
22:17For no reading at all.
22:19That's right.
22:20I wrote a song about it.
22:22Like the here, here, go.
22:24I play guitar for 36 hours.
22:26I read it all.
22:30Thank you very much.
22:31Where am I?
22:33Oh, my goodness.
22:34And I remember the producer, Tamera Wawit, used to get so angry at me because you would hear my cackle, you know, while they were doing the taping.
22:42I couldn't help it.
22:43So far, I done wrote over 12,000 new songs, and ain't none of them longer than 13 seconds.
22:51Homie the Clown was huge.
22:53Homie, homie, homie.
22:56You here?
22:58I don't think so.
23:00All right, how about a magic trick?
23:03Yeah!
23:05Who got it down?
23:06I do, homie!
23:09Here you go, homie!
23:11All right, I fold it once.
23:13Ooh.
23:14Twice.
23:16Ah.
23:17Now it's gone.
23:18Ta-da!
23:20Three champs and a baby.
23:22Huge.
23:23Whose baby is this?
23:24Uh, dear champ, remember your New Year's Eve party? Well, here's your baby.
23:34Well, as you can see, this is a champ. That can be any one of us. We're all at their party, you know.
23:40Well, it, it find Judy.
23:44Oh.
23:45Judy.
23:47Yeah.
23:48Maybe we should take turns with the baby, too.
23:51If there was one that defined me...
23:53Can't touch this.
23:55Hammer. I did MC Hammer.
23:57Can't touch this.
23:58That's what defined me and gave me my identity.
24:00My, my, my pants old baggy when the move it ain't hard.
24:03Make you wanna say, oh my lord, hey, Hammer.
24:06Do you really have a weenie with pants like that?
24:08You look like a genie, they give me a real nice breeze like a big wreck hammock under coconut trees.
24:12They're cool now.
24:13I can get my drip and this is a dance you can't touch.
24:17People were like, man, that's Tommy Davidson.
24:20Nobody can do that. That guy does that.
24:23Break it down.
24:27Uh oh, uh oh, uh oh, uh oh, uh oh.
24:31I was like the younger player on the show.
24:33So I just kinda got in where I fit in and, you know, learned as I went.
24:37You know, and so it wasn't intimidating because I was more, I was more naive.
24:41Can we smash the cream pie in your face?
24:44Like if you're doing the clowns and stuff.
24:46Yeah!
24:47I think you got it backwards, son.
24:52My mother used to say, why they always gotta be putting something on you?
24:54Why you gotta be the one to get the flour and the milk on your head?
24:57Why you always gotta be hit by the sock?
24:59I'm like, mom, it's TV, okay? It's TV, you know?
25:02I don't know, I just felt, I fell in some of the sketches, I fell into the fall guy.
25:06And it was cool.
25:07Now, how do you feel about yourself?
25:10Totally dissed, homie.
25:15That's why homie don't play that.
25:17One of my biggest lessons that I learned on In Living Color was how to play the straight.
25:22See, cause I'm nuclear.
25:23You know, I'm all, all, all cheat.
25:26I'm all, all talent going forward.
25:29I'm, I'm like a, you know, positively charged, funny, you know?
25:34But then I got balance.
25:36Because I got to play a cross from Jim Carrey on things.
25:39The night that acted went awry.
25:42It was a departure point for a long descent.
25:45To a place stranger than nightmares.
25:48A place crueler than hell.
25:50He was entered a place called the vortex of fear.
25:54You know?
25:55You know?
25:56You know?
25:57You know?
25:59We always had our own sense of humor.
26:01We always had our own sense of ourselves.
26:03Our own sense of our own expression.
26:05You know?
26:06But through hip hop and, and just through the whole, uh, film and television movement that
26:12came about, it was just that now America was getting to see it.
26:15I remember when Kenan said how, um, he wanted to have, you know, when he was describing the
26:21show, how he wanted to have his DJ.
26:23And, um, instead of his in-house band, like Saturday Night Live, have his, um, dancers.
26:29You know, known as Fly Girls.
26:30And I thought, hmm, what would that be?
26:33You walk on the moon, float like a balloon.
26:35You see, it's never too late, and it's never too soon.
26:37Take it from me, it's all right to be in living color.
26:41And how would you feel knowing prejudice was obsolete?
26:43And all mankind danced to the exact beat.
26:45And at night it was safe to walk down the street.
26:49I knew Rosie from Do The Right Thing and actually introduced Rosie to Kenan to choreograph the show.
26:59She just had so much rock talent and, you know, to me, spoke at the time.
27:04Rosie from Buckwai, Brooklyn, she knows what's happening in the city.
27:07I loved the time I was changing as fair.
27:11Kenan had enough faith in me to bring hip-hop to the mass media.
27:17I love dance, and I really wanted to let the world in on that culture.
27:23And I wanted it so bad to be as authentic as possible.
27:27In Living Color
27:30Ladies and gentlemen, the star of Night Court and her own television show, Ms. Marcia Warfield.
27:39I think the legacy of In Living Color is its fearlessness.
27:43Kenan Iverians and his family were fearless. They just didn't care about popular opinion.
27:50They didn't care about who was insulted, who was offended.
27:54Hi. I'm Marcia Warfield.
28:00You know, Kenan asked me to come host a show for him tonight.
28:04And the first thing I'm gonna do is change the way they do things around here.
28:08I'm gonna get rid of these little tired tramps. Oh, they gone already. Good.
28:11The census would be there, you know, on Friday night, you know, looking at the notes, you know,
28:19and Kenan would come over and say, do your, do, you know, basically do your shit.
28:24Do what you do. Don't worry about them. I'll worry about them.
28:27So we were like, all right, you shouldn't have told us that.
28:31He shouldn't have told us that. I mean, they were always in trouble,
28:34because we just went for it every time. We didn't care.
28:36We never were privy to the battles that Tamara and Kenan and those guys would battle with the network.
28:42I mean, a lot of it, like when the Headleys first came on,
28:45they would curse, you know, Jamaican cursing, bumble blood clot to Donnie.
28:49You look like Isaac from The Love Boat. And we all know he hasn't had a job in a long time.
28:59Put a drink up there and stand on the plane while I take care of the pot and jump.
29:03You lazy coconut blood clot. Get out of this.
29:08They didn't know what we were saying, you know, until finally, I'm sure,
29:12members of the Jamaican community wrote the station and said,
29:16this is what they're saying. What we would do is we would bombard them with inappropriate language
29:22and they didn't know. They couldn't stop everything. So a lot of it would go out.
29:26I'm a little man. I have always loved.
29:33I was waiting for the right man to come and sweep me right off my feet.
29:36Just sweep me off my feet, not use me like a ride at Disney World.
29:41You know, the bottom line in the message that was coming across in the show was it wasn't racist
29:47and it wasn't, you know, it wasn't sexist and, you know, it wasn't anti-gay and it was pro-people.
29:53It was a very progressive show. We were able to create, you know, a cohesive show
29:59that actually worked, that was funny, that had something to say.
30:06Marilyn was nothing but a slut. I mean, two Kennedys and a mafioso, that trash was working overtime.
30:14The show gave the country permission to laugh at things that they hadn't laughed at before.
30:21It was special. You know, it was tough. It was hard. You know, I felt so proud to be,
30:27you know, attached to this show and everybody that worked on it did because it was just something that,
30:33you know, had never really happened, especially with the multicultural influences and, you know,
30:39and having a, you know, a diverse cast. Hit my hand. Harder. That's the man.
30:46It was the top ten, like, as soon as we got to early summer and I was shocked.
30:49For a Fox show to hit the top ten is not an easy thing to do. A lot of people have to be tuning it in.
30:55And usually it was the same way on Saturday Night Live when you knew you'd done a good show and you'd go
30:59out for breakfast the next morning, you'd hear people talk about stuff you'd written. I mean,
31:02In Living Color was the same way. It was sort of a water cooler show where, where the next day
31:06after it aired, you heard people talking about it. It just was honest. It was the kind of jokes that
31:11you would have sitting in your living room with your friends and you knew nobody else was watching,
31:16so you could say and do whatever you wanted. That's what In Living Color was.
31:19Then you guess my wife's right.
31:21Okay, she's about, I'd say, one fat bitch.
31:27I remember that first season and it was Jim Carrey, you know, I was like there, you know,
31:34cynical me in my dressing room and he's like, this is history. You know, this show's a historic show.
31:38This is, we're gonna look back and this show's gonna be, uh, go down in history as this great and
31:43important show. And I'm like, shut up. Is he nuts? You know, they're gonna give him money to do a movie.
31:50Okay, Rodney, give me the good stuff.
31:53You know, the hardest thing I ever did, man, was staying away from that activator, man.
31:58My hand was just, I just needed that activator in the head. Oh, yeah. Yes, it was terrible, man.
32:05But I'm on my way back, man. Next week, I'm going to get a flak top. Oh, yeah.
32:09I came out of there with the sense of knowing how to, to, to coexist with a group of people,
32:14still be able to make my contributions, but have my priority be the whole.
32:21The Living Color was, um, a show that came along at the right time, that was on the right network.
32:28It found its audience that brought some incredibly talented people to television
32:33who hadn't been given a chance to really show all the talent that they had. And, um, you know,
32:42Jim Carrey is in Living Color's legacy. The Wayans are the legacy. Keenan and Damon and Sean and, you
32:49know, and, uh, Kelly and Tommy. The cast is as much of the legacy as all the tapes that are, you know,
32:56still in the vault.
33:10We're going to have to give this one two snaps up in a circle.
33:26We're going to have to give this one moment.
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