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From 1955 to 1990, Kermit the Frog was voiced and performed by Jim Henson. After that, Steve Whitmire, known for his smart-mouthed Rizzo the Rat, took over. Whitmire’s Kermit sounded a lot like Henson's, but his voice was a little thinner, and his singing more rhythmic and less melodic. Let me preface my next statement by saying that I know it will seem ridiculous to the casual reader, inflammatory to a good many fans, and downright specious to the expert of rhetoric, but for me watching Steve Whitmire’s Kermit is akin to watching someone imitate a mythic and longed-for mother—my mother—wearing a my-mother costume in a my-mother dance routine. This person’s heart is in the right place, which only makes it worse. “You should be happy,” the person pleads with me, “Look, Biddy! Your mother is not gone! She is still here.” Now, no one would ever do that. No one in her right mind would think it would work. A child knows his mother’s voice like he knows whether it's water or air he's breathing. One chokes you and one gives you life. Strangely, I feel the same about Kermit. Whitmire is an amazing performer—especially as the lovable dog Sprocket on “Fraggle Rock”—but, when he's on screen as Kermit, I can feel my body reject it on a cellular level.
In theory, copyright is a good thing, a necessary protection for artists that allows them to reap the rewards of their hard work. But 70 years after an author's death is too long a period. It holds the work in an artificial suspension, the property of stewards who may, as the years go by, have less and less of a relationship with the original impulse that animated the art.
The Copyright Term Extension Act is sometimes called “The Mickey Mouse Protection Act” because it stayed the mouse’s impending deliverance into the public domain until 2036. But whom exactly does Mickey need protection from? The public domain—isn’t that us? What does Congress think we’re going to do to him?
The public domain—isn’t that us? What does Congress think we’re going to do to him?