records may have fallen under the same “fair use” rules of live radio. “The whole business was much more cottage industry—it wasn’t the way it is now.”
In fact, remembered Jane, some of the artists whose records had been used on
Sam and Friends
grumbled at first, noting the lack of royalties or the use of an otherwise serious performance for a laughand a punch line. When any wounded artists brought their concerns to Jim’s attention, however, it was always easier to ask forgiveness than permission—and most crumpled in the face of Jim’s charm. Stan Freberg, in fact, admitted he had been irritated when he learned his records were being used without attribution or recompense, and went storming down to WRC in April 1957 to issue a personal cease and desist. Once he had the opportunity to actually see Jim and Jane perform, however, Freberg melted—and shortly thereafter sent the two an enthusiastic telegram with his blessings. “I take it all back,” gushed Freberg. “This is one of the greatest acts I have ever seen [and I] am honored to let you use my records for ever and longer.”
J im reenrolled at the University of Maryland in the fall of 1957, following a brief summer vacation in Mexico. The break, if you could call it that, had done him good. He introduced a new character, the cigar-shaped, brush-mustached Professor Madcliffe, “who has a knack,” Jim explained, “for not being able to repair things he’s helped put out of order.” He would also be the first Muppet Jim would perform in his own voice—mostly interacting with Paul Arnold as he introduced segments—instead of lip-synching to records.
Creatively, Jim’s sketches for
Sam and Friends
were growing more and more outlandish, juxtaposing bizarre behavior—in which his Muppets usually pummeled, blew up, or devoured each other—with earnest, sappy songs. Jim relished every moment. “In the early days of the Muppets, we had two endings,” Jim said. “Either one creature ate the other, or both of them blew up.… I’ve always been particular to things eating other things!” It was a sense of humor you either got, or you didn’t; it was as simple as that, and Jim wasn’t about to tone down his act. “We’d try some really way-out things,” Jim said later. “I remember one strange thing we had on the show—a puppet made from the skull of a squirrel. We used to take this slightly macabre thing and make it talk, and also we used it to lip-synch to this terrible song called ‘There’s a New Sound’ … it has only one chord and it would drive people crazy.… I was convinced no one else at the station ever watched the show because there was never a complaint or any attempt at censorship of any kind.”
And still WRC couldn’t seem to leave well enough alone. In September 1957, the network scratched
Sam and Friends
from its 6:50 P . M . spot, and cleared out its evening programming as the network struggled with lackluster ratings from the
Tonight
show. As they had in 1955,
Sam
’s fans responded angrily. “We have so few local shows that are worthwhile that when we do get something good, let’s fight to keep it on and going strong,” declared one letter to the
Star
. “Sam, Yorick and Kermit are a lot more entertaining than
Death Valley Days
and
Last of the Mohicans
.” “This is one case where I’m certain that WRC regretted cancellation of the show,” agreed the
Star
’s editors. Responding to the uproar,
Sam
was quietly returned to its regular spots in the WRC lineup.
The Tonight Show
, too, would right itself shortly thereafter, determining at last that it would officially be called
The Tonight Show
and installing Jack Paar as host. In fact, as the lead-in to the newly energized
Tonight Show, Sam and Friends
had become a local late night powerhouse. But it was a final bit of tinkering in the WRC schedule—this time courtesy of parent company NBC—that would give Jim not just one, but two of the most
In fact, remembered Jane, some of the artists whose records had been used on
Sam and Friends
grumbled at first, noting the lack of royalties or the use of an otherwise serious performance for a laughand a punch line. When any wounded artists brought their concerns to Jim’s attention, however, it was always easier to ask forgiveness than permission—and most crumpled in the face of Jim’s charm. Stan Freberg, in fact, admitted he had been irritated when he learned his records were being used without attribution or recompense, and went storming down to WRC in April 1957 to issue a personal cease and desist. Once he had the opportunity to actually see Jim and Jane perform, however, Freberg melted—and shortly thereafter sent the two an enthusiastic telegram with his blessings. “I take it all back,” gushed Freberg. “This is one of the greatest acts I have ever seen [and I] am honored to let you use my records for ever and longer.”
J im reenrolled at the University of Maryland in the fall of 1957, following a brief summer vacation in Mexico. The break, if you could call it that, had done him good. He introduced a new character, the cigar-shaped, brush-mustached Professor Madcliffe, “who has a knack,” Jim explained, “for not being able to repair things he’s helped put out of order.” He would also be the first Muppet Jim would perform in his own voice—mostly interacting with Paul Arnold as he introduced segments—instead of lip-synching to records.
Creatively, Jim’s sketches for
Sam and Friends
were growing more and more outlandish, juxtaposing bizarre behavior—in which his Muppets usually pummeled, blew up, or devoured each other—with earnest, sappy songs. Jim relished every moment. “In the early days of the Muppets, we had two endings,” Jim said. “Either one creature ate the other, or both of them blew up.… I’ve always been particular to things eating other things!” It was a sense of humor you either got, or you didn’t; it was as simple as that, and Jim wasn’t about to tone down his act. “We’d try some really way-out things,” Jim said later. “I remember one strange thing we had on the show—a puppet made from the skull of a squirrel. We used to take this slightly macabre thing and make it talk, and also we used it to lip-synch to this terrible song called ‘There’s a New Sound’ … it has only one chord and it would drive people crazy.… I was convinced no one else at the station ever watched the show because there was never a complaint or any attempt at censorship of any kind.”
And still WRC couldn’t seem to leave well enough alone. In September 1957, the network scratched
Sam and Friends
from its 6:50 P . M . spot, and cleared out its evening programming as the network struggled with lackluster ratings from the
Tonight
show. As they had in 1955,
Sam
’s fans responded angrily. “We have so few local shows that are worthwhile that when we do get something good, let’s fight to keep it on and going strong,” declared one letter to the
Star
. “Sam, Yorick and Kermit are a lot more entertaining than
Death Valley Days
and
Last of the Mohicans
.” “This is one case where I’m certain that WRC regretted cancellation of the show,” agreed the
Star
’s editors. Responding to the uproar,
Sam
was quietly returned to its regular spots in the WRC lineup.
The Tonight Show
, too, would right itself shortly thereafter, determining at last that it would officially be called
The Tonight Show
and installing Jack Paar as host. In fact, as the lead-in to the newly energized
Tonight Show, Sam and Friends
had become a local late night powerhouse. But it was a final bit of tinkering in the WRC schedule—this time courtesy of parent company NBC—that would give Jim not just one, but two of the most
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