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Pryor signed with the comedy-oriented independent record label Laff Records in , and in recorded his second album, Craps After Hours. Two years later, the relatively unknown comedian appeared in the documentary Wattstax , wherein he riffed on the tragic-comic absurdities of race relations in Watts and the nation. Not long afterward, Pryor sought a deal with a larger label, and he signed with Stax Records in When his third, breakthrough album, That Nigger's Crazy , was released, Laff, which claimed ownership of Pryor's recording rights, almost succeeded in getting an injunction to prevent the album from being sold. Negotiations led to Pryor's release from his Laff contract.
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His father worked for the government, and his mother was a homemaker. In Oklahoma, his father, John Sr. Reed also took to the stage, where he performed and sang. He also worked as a radio announcer at local radio stations and wrote and produced radio dramas. Marshall in a publicity shot for The Defenders , Reed made his first guest-starring appearance in an episode of Father Knows Best in In , Reed landed his first television starring role in The Defenders alongside fellow Studebaker Theater performer E. Marshall , with the two playing a father-and-son team of defense attorneys.
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It started that way, but in truth I only touch on names and songs, and in many instances albums are cited without any mention of tracks within — you can find that information elsewhere. No, what started as a potted personal history actually evolved into a review of the band's later musical and performance activities, which is remarkable for two reasons: Firstly, I am no fan of the late nineties-onwards Journey as regards musical output, whether live or in the studio why will become clear upon reading this presentation , so anything from when the band reinvented themselves you would assume holds no interest for me — certainly with regard to actually taking the time and effort of putting the following words together.
When we founded Consortiumnews. Journalist Robert Parry Indeed, that was the original reason that I turned to what was then a new media platform to create a home for well-reported stories and to challenge the many misguided conventional wisdoms. As one of the reporters who helped expose the Iran-Contra scandal for The Associated Press in the mids, I was distressed by the silliness and propaganda that had come to pervade American journalism.
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