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Stephen Shugerman/Getty Images
Stephen Shugerman/Getty Images

The Time Freddy Krueger Became a Nightmare for Will Smith

Stephen Shugerman/Getty Images
Stephen Shugerman/Getty Images

Fans of Will Smith’s music career may think they’ve heard every album and seen every music video from the actor’s days as one half of the hip-hop duo DJ Jazzy Jeff & the Fresh Prince. Thanks to one ill-timed and poorly conceived effort, however, there’s one performance that aired only a handful of times before being permanently pulled. It has never resurfaced on compilations, on MTV, or even on YouTube. And the fault lies solely with Freddy Krueger, who used something even more dangerous than his razor-fingered glove: a small army of lawyers.

A promotional image of Robert Englund as Freddy Krueger
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Back in early 1988, Smith and his musical partner Jazzy Jeff (a.k.a. Jeffrey Allen Townes) released their second album, He’s the DJ, I’m the Rapper. It would eventually go platinum, selling 2.5 million copies through 1989 and spinning off the duo’s most successful single, “Parents Just Don’t Understand.”

In late 1987, Townes composed another single, “Nightmare on My Street,” that played with the premise established by the A Nightmare on Elm Street series. In the song, Smith’s dreams are haunted by a scarred bogeyman named “Fred”; a voice modulator mimics the raspy delivery of actor Robert Englund, who portrayed slasher movie icon Freddy Krueger in the Nightmare on Elm Street films. After his run-in, Smith tries calling Jeff to warn him of the threat but it was too late: The killer has gotten to his partner.

Zomba, the parent company behind the album's label, decided the song might be of interest to New Line Cinema, the studio behind the Nightmare film franchise. With the fourth installment, A Nightmare on Elm Street 4: The Dream Master, due to hit theaters in August 1988, Zomba executive Barry Weiss approached New Line with the possibility of collaborating and forwarded a tape of the song.

Weiss’s timing was spot-on. New Line had recently conducted research that indicated that 40 percent of A Nightmare of Elm Street's audience was black, and they felt that tying Krueger into the burgeoning rap and hip-hop industry would help cement his appeal to the demographic. But New Line and Weiss couldn’t come to a financial agreement. Instead, the studio went with The Fat Boys and granted permission for the song “Are You Ready for Freddy?” The video, complete with an appearance by Englund (in character), was released just a few months prior to A Nightmare on Elm Street 4 to raise awareness of the sequel.

Although New Line found their collaborators, Zomba didn’t appear willing to give up on the idea of a Freddy takeoff. “Nightmare on My Street” remained on the album, and Smith and Townes recorded a video intended for distribution on MTV. In it, Smith is stalked by a Freddy-like character who appears in a trench coat and has a wrinkled face. Smith’s lyrics make overt reference to a Krueger-esque appearance. (Fred is “burnt like a weenie.”) The eerie house Smith calls home even bears a passing resemblance to the house in the original Nightmare film.

If Zomba thought they could declare the song and video a parody and be safe from legal action, they were mistaken. Almost immediately, New Line's legal team sent a stern letter demanding the music label recall all copies of the song. When that didn't happen, the studio next sought a preliminary injunction to prevent “Nightmare on My Street” from being aired on MTV or elsewhere, citing copyright infringement and a concern that the video would detract from their collaboration with The Fat Boys.

"We own both a character, Freddy Krueger, and the theme music from Nightmare on Elm Street, both of which are protected under the copyright laws," Seth Willenson, New Line's senior vice president of telecommunications, told the Los Angeles Times in August 1988. “By using Freddy in the Jazzy Jeff song, they've infringed our copyright. We're protecting our rights the same way that George Lucas does, because as far as we're concerned, Freddy Krueger is the Star Wars of New Line Cinema."

Weeks before the release of the film, a judge in New York’s United States District Court would have to decide whether Zomba was entitled to a fair use exemption over a fictional child murderer.

Will Smith appears at the Grammy Awards
Matt Campbell/Getty Images

To Zomba’s dismay, judge Robert Ward didn’t buy their argument that “Nightmare on My Street” was nothing more than a Weird Al-style satire. Screening the entire first installment of the film series and the music video, Ward noted that the latter drew considerable influence in tone, mood, and characteristics from the feature. Fred’s voice was scratchy like Englund’s; his glove, though it featured phonograph needles instead of razors, was obviously meant to invoke Krueger’s weapon of choice. Where Zomba saw parody, Ward saw little more than a derivative work of a copyrighted property.

“It is in this month that many individuals will make their decision whether Nightmare IV is a film that they are interested in viewing,” wrote Ward in his decision. “Thus, the telecast of the lower quality DJ Jazzy Jeff video with the somewhat silly and less frightening Freddy could dissuade an unspecified number of individuals from seeing the film.” The injunction was granted, with a full hearing to be held at a later date.

That didn’t happen—both parties settled out of court. While the song remained on the record, it began to ship with a disclaimer that it wasn’t associated with New Line; the video, which had aired only briefly on MTV, was pulled, and the court ordered that all copies be destroyed. Whether or not that happened is hard to substantiate, but if the video is lurking in storage somewhere, it has never been excavated. “Nightmare on My Street” has never resurfaced.

If Smith and Townes were bothered by the outcome, they didn’t voice it publicly. Smith even dressed up as Krueger in a 1990 episode of his sitcom, The Fresh Prince of Bel-Air. But there is one additional bit of film trivia to come out of the case: In seeking to resolve the issue, New Line offered DJ Jazzy Jeff and the Fresh Prince a two-film option. If they accepted the roles, their salaries would be deducted from the settlement payout. One of those projects was 1990’s House Party, which the two declined. The roles eventually went to Kid ‘n Play.

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Thin Ice: The Bizarre Boxing Career of Tonya Harding
Al Bello/Getty Images
Al Bello/Getty Images

In 2004, the Chicago Tribune asked Tonya Harding about the strangest business offer she had received after her skating career came to an abrupt end in the mid-1990s. “I guess to skate topless,” she answered. In 1994, the two-time former Olympian became infamous for her ex-husband’s attempt to break the leg of rival Nancy Kerrigan. Although Harding denied any knowledge of or involvement in the plan—which ended with Kerrigan suffering a bruised leg and Harding being banned from the U.S. Figure Skating organization, ending her competitive pursuits—she became a running punchline in the media for her attempts to exploit that notoriety. There was a sex tape (which her equally disgraced former husband, Jeff Gillooly, taped on their wedding night), offers to wrestle professionally, attempts to launch careers in both music and acting, and other means of paying bills.

Though she did not accept the offer to perform semi-nude, she did embark on a new career that many observers found just as lurid and sensational: For a two-year period, Tonya Harding was a professional boxer.

Tonya Harding rises from the canvas during a boxing match
Al Bello/Getty Images

Following the attack on Kerrigan and the subsequent police investigation, Harding pled guilty to conspiracy to hinder prosecution, received three years’ probation, and was levied a $160,000 fine. (Gillooly and his conspirators served time.) Ostracized from skating and with limited opportunities, Harding first tried to enter the music scene with her band, the Golden Blades.

When that didn’t work—they were booed off stage in Portland, Oregon, Harding’s hometown—she disappeared from the public eye, offering skating lessons in Oregon before resurfacing on a March 2002 Fox network broadcast titled Celebrity Boxing. Using heavily padded gloves and outsized headgear, performers like Vanilla Ice and Todd Bridges pummeled one another on the undercard. In the main event, Harding used her physicality to batter and bruise Paula Jones, the woman who had accused then-president Bill Clinton of sexual harassment.

This was apparently the boost of confidence Harding needed. “I thought it was fun knocking somebody else on their butt,” she told the Tribune. Boxing, she said, could be an opportunity to embrace her self-appointed title as “America’s Bad Girl.”

Harding looked up a boxing promoter in Portland named Paul Brown and signed a four-year contract that would pay her between $10,000 and $15,000 per bout. The 5-foot, 1-inch Harding quickly grew in stature, moving to 123 pounds from her 105-pound skating weight. Following her win against Jones, Brown booked her a fight against up-and-coming boxer Samantha Browning in a four-round bout in Los Angeles in February 2003. The fight was said to be sloppy, with both women displaying their limited experience. Ultimately, Browning won a split decision.

Harding rebounded that spring, winning three fights in a row. Against Emily Gosa in Lincoln City, Oregon, she was roundly booed upon entering the arena. “The entire fight barely rose above the level of a drunken street brawl,” The Independent reported.

Of course, few spectators were there to see Harding put on a boxing clinic. They wanted to watch a vilified sports figure suffer some kind of public retribution for her role in the attack on Kerrigan. Following her brief winning streak, Harding was pummeled by Melissa Yanas in August 2003, losing barely a minute into the first round of a fight that took place in the parking lot of a Dallas strip club. In June 2004, she was stopped a second time against 22-year-old nursing student Amy Johnson; the Edmonton, Alberta, crowd cheered as Harding was left bloodied. Harding later told the press that Johnson, a native Canuck, had been given 26 seconds to get up after Harding knocked her down when the rules mandated only 10, which she saw as a display of national favoritism.

Harding had good reason to be upset. The Johnson fight was pivotal, as a win could have meant a fight on pay-per-view against Serbian-born boxer Jelena Mrdjenovich for a $600,000 purse. That bout never materialized.

Tonya Harding signs head shots on a table
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There was more than just lack of experience working against Harding in her newfound career. Having been a longtime smoker, she suffered from asthma. The condition plagued her skating career; in boxing, where lapses in cardiovascular conditioning can get you hurt, it became a serious problem. Although Harding competed again—this time emerging victorious in a fight against pro wrestler Brittany Drake in an exhibition bout in Essington, Pennsylvania, in January 2005—it would end up being her last contest. Suffering from pneumonia and struggling with weight gain caused by corticosteroids prescribed for treatment, she halted her training.

In an epilogue fit for Harding’s frequently bizarre escapades, there was remote potential for one last bout. In 2011, dot-com entrepreneur Alki David offered Harding $100,000 to step back into the ring, with another $100,000 going to her proposed opponent. Had it happened, it probably would have gone down as one of the biggest sideshows of the past century. Unfortunately for Harding, Nancy Kerrigan never responded to the offer.

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Pop Culture
10 Adorable Facts About Cabbage Patch Kids
Gareth Cattermole/Getty Images
Gareth Cattermole/Getty Images

Although there have been other toy crazes throughout the 20th century, none have inspired the frenzy that met the 1983 debut of the Cabbage Patch Kids. Mass-produced yet all slightly unique—each was computer-sorted to have a distinctive combination of hair, freckles, and expressions—the dolls were in such high demand that shoppers risked bodily injury to try and grab one: In 1983, a Wall Street Journal editorial asserted that more Americans were worried about obtaining a Kid than the possibility of nuclear annihilation at the height of the Cold War. Check out 10 facts behind this dimpled phenomenon.

1. THEY WERE ORIGINALLY CALLED “LITTLE PEOPLE.”

When Appalachian artist Xavier Roberts began handcrafting a line of soft-sculpture babies in Georgia in 1977, he referred to them as Little People and created an elaborate marketing plan around their distribution. Gift shops and other retailers would never “sell” the creations—instead, they were to be “adopted.” Roberts also corrected anyone who referred to them as “dolls,” preferring to call them “babies” or “kids.” The fantasy worked, and Roberts sold well over 200,000 of his Little People before signing a deal to mass-produce them in partnership with toymaker Coleco in 1982. Under the direction of advertising agent Roger Schlaifer, they were rebranded as Cabbage Patch Kids after the stock explanation parents sometimes use to describe reproduction—that kids come from “the cabbage patch.”

2. PEOPLE GOT TRAMPLED TRYING TO BUY THEM.

It’s hard to pinpoint the exact appeal of the Cabbage Patch Kids, which were perceived by some as homely. Some psychologists interviewed at the time believed that the adoption fantasy appealed to children who were looking to be caregivers themselves, while others pointed to the idea that parents could “prove” their worth by securing a Kid for their offspring. Whatever the case, the 1983 holiday shopping season drove consumers into a frenzy. Stores receiving small quantities of the Kids saw shoppers stampede into stores, suffering broken bones, being trampled, and even attempting to bribe employees into reserving them before they hit the sales floor. One manager resorted to wielding a baseball bat as a form of crowd control.

3. XAVIER ROBERTS MADE ONE KID CHAIRMAN OF THE BOARD.

As president of Original Appalachian Artworks (OAA), the company incorporated to produce the dolls in 1978, the colorful Roberts enjoyed perpetuating the fantasy of the Kids as actual personalities. One of his earlier creations, Otis Lee, was named Chairman of the Board and frequently traveled with Roberts, rarely leaving his side.

4. ONE DESPERATE PARENT FLEW TO LONDON TO GRAB A KID.

A vintage photo of a child receiving a Cabbage Patch Kid
Dennis Harper, Flickr // CC BY-ND 2.0

Frustrated with the lack of supply in North America, a Kansas City mailman named Ed Pennington flew to London during the 1983 season in order to pick up a Kid for his daughter, Leana. (In England, demand wasn’t quite as strong and few had to risk bodily injury to secure one.) Pennington bought five of the Kids and gave four of them away to charity.

5. COLECO HAD TO PULL ITS ADVERTISING.

With demand for the Kids prompting violence, Coleco was chastised by consumer advocates for a form of “false advertising,” running television commercials that attracted consumers when they knew they would be unable to produce enough supply. James Picken, the consumer affairs commissioner in Nassau County, New York, complained the ads amounted to “harassing small children.” The company soon backed off on their ad campaign, pulling TV spots. It was hardly a problem, though: The furor over the Kids brought them headlines—and free advertising—virtually around the clock.

6. ADOPTION GROUPS WEREN’T BIG FANS.

A child examines two Cabbage Patch Kid toys
alamosbasement, Flickr // CC BY 2.0

The marketing for the Kids, which involved an “oath” to treat them with care along with a birth certificate and adoption papers, spoke to adolescent consumers but didn’t find support in the actual adoption community. Feeling the toy trivialized actual adoptive parents and their kids, adoption groups spoke out against the idea, fearing it would prompt children to believe people could be “bought.”

7. THERE WAS AN EASY WAY TO SMELL A FAKE.

With any consumer product sensation comes a parade of counterfeit merchandise, and the Kids were no exception. Consumer advocate groups pointed out that bogus Cabbage Patch items possessed an oily smell due to the industrial rags they had been stuffed with. Thought to be highly flammable, consumers were told to avoid Kids that reeked of kerosene.  

8. THEY SUED THE GARBAGE PAIL KIDS.

A Cabbage Patch Kid sits on top of a dumpster
Al Pavangkanan, Flickr // CC BY 2.0

Roberts and OAA didn’t find a lot to laugh about when Topps released their line of Garbage Pail Kids trading cards in 1985. Featuring the same rounded heads and cute expressions as the Cabbage Patch Kids, OAA charged that the booger-infested cards were infringing on their copyright. After a court battle, Topps agreed to alter the design of their cards.

9. ONE MODEL HAD TO BE RECALLED FOR EATING THEIR OWNERS' HAIR.

Cabbage Patch mania was on full display through 1984, when Coleco sold 20 million of the toys before demand finally began to wane. In an effort to bolster sales later in the decade, new Cabbage Patch licensee Mattel released Snack Time Kids, which were intended to gobble up fake French fries. Instead, the mechanism could bite down on their owner’s long hair and automatically begin chewing. After complaints—and one 911 call for a child in Connecticut unable to free herself from the Kid’s maw—Mattel offered refunds and withdrew the toy from stores.

10. THEY INSPIRED A MORBID URBAN LEGEND.

A set of Cabbage Patch Kids wearing hats
lisaclarke, Flickr // CC BY-ND 2.0

Cabbage Patch Kids that had suffered indignities like dog maulings, sibling amputations, or other misadventures could potentially be repaired by doll hospitals. But one morbid rumor sprang up in newspapers: if your Kid was beyond repair, Coleco would issue the toy a death certificate.  

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