Michael Richards' recent gig at an LA comedy club plays like the darkest, nastiest, most taboo-baiting script that Larry David never wrote. There on centre stage is the man still best known as Cosmo Kramer out of Seinfeld. In the audience sits a heckler who also happens to be black. He then appeals to some unseen authority to "throw his arse out, he's a nigger, he's a nigger. There is plenty more in this vein: you can catch the ugly, unabridged version on YouTube. Richards' on-screen alter-ego was a hyperactive free spirit, an inviolate innocent who in the words of the envious George Costanza "gets sex without dating and falls ass-backwards into money".
Michael Richards - Wikiquote
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Staff Reporter 22 Nov The comic actor Michael Richards, better known as Cosmo Kramer in the long-running TV show Seinfeld, has apologised for a racist outburst that was captured on film and broadcast across the United States. Richards 57 took exception when some black audience members talked during his act at a Los Angeles comedy club on Friday. He then proceeds to insult one man with a succession of racial epithets. In a television appearance on Monday night, after news of the tirade broke, Richards apologised, telling host David Letterman—who was interviewing Seinfeld star Jerry Seinfeld—that he was not a racist but had lost his temper.
Suddenly, Mel Gibson is no longer the most reviled man in American show business. Gibson's drunken anti-Semitic tirade of six months ago may not have been forgotten exactly, but it has certainly been eclipsed. The man he has to thank for that is a comedian who, until his moment of maximum meltdown last Friday night, was regarded with uncommon affection by television audiences in the United States and far beyond. For nine years, Michael Richards played Jerry Seinfeld's eccentric neighbour Kramer on Seinfeld - a bravura turn that combined brilliant physical comedy, hilariously mismatched thrift store clothing, and a uniquely zany neurotic quality that made Kramer, in many ways, the most human and lovable of a distinctly grotesque gallery of principal characters. That, though, was then.