Buzz
In the late 1940s, the rise of commercial television amazed Americans, providing them with the unprecedented opportunity to witness and hear events unfolding both across the nation and globally. Although TV sets were expensive and out of reach for many, people flocked to appliance store displays or local bars with functioning TVs to enjoy the excitement of early programming.
Initially, producers viewed television as a novel experiment—essentially a 'radio with visuals.' However, as rural areas gained access, prices decreased, and millions of Americans bought TVs and tuned in, their perspective shifted. Families eagerly scheduled their evenings around beloved comedy and variety shows, making television the first truly national shared experience. Baby Boomers embraced TV, growing up with beloved figures like Howdy Doody and Captain Kangaroo. By the 1950s, television had achieved a cultural influence unmatched by any historical empire.
Early on, producers understood the importance of using unique music to signal the start of a TV show, much like they did in radio. It was crucial to avoid confusion about when popular genres like westerns, comedies, variety shows, sports, anthology series, crime dramas, game shows, or children's programs aired. They adapted many techniques from radio, with some shows transitioning directly to TV, retaining their original theme music. To cut costs, producers often used classical music in the public domain or paid composers for full rights to their work. As a result, some theme songs became iconic, outshining the shows themselves.
10. The Lone Ranger (1949–1957)
“Return with us now to those thrilling days of yesteryear….” This iconic opening line introduced every radio episode of The Lone Ranger, and it remained unchanged for the television adaptation. The series starred Clayton Moore as a heroic, wandering figure reminiscent of a chivalrous knight, embodying the spirit of the Old West.
In The Lone Ranger, the titular character roamed the frontier each week, determined to bring justice to the lawless land. He was joined by his loyal Native American companion, Tonto, portrayed by Jay Silverheels, a Mohawk actor from Ontario’s Six Nations Reservation. This groundbreaking partnership made the show one of the first interracial programs in television history.
Every episode kicked off with the energetic strains of the “William Tell Overture,” a piece from Gioachino Rossini’s 1829 opera. As the Lone Ranger exclaimed, “Hi-yo, Silver! Away!”, his majestic white horse, Silver, would rear up. On radio, this marked the start of a thrilling horseback pursuit, while on TV, it signaled the beginning of an exciting adventure.
A humorous observation highlights the cultural impact of American television: “An intellectual is someone who can listen to the ‘William Tell Overture’ without picturing The Lone Ranger.” This joke underscores how TV reshaped the perception of even the most renowned European works.
9. Mickey Mouse Club (1955–1958)
Walt Disney launched this children’s program the same year Disneyland debuted in Anaheim, California. It quickly became a sensation, captivating young audiences with segments showcasing the singing and dancing talents of the Mouseketeers, along with clips from Disney’s adventure tales. Annette Funicello, who later gained fame for her beach movies in the 1960s, began her career on this iconic show.
The show opened with the playful antics of Goofy, Donald Duck and his nephews, and Mickey Mouse during the theme song. The lyrics posed the question, “Who’s the leader of the club that’s made for you and me?” and answered by spelling out “MICKEY MOUSE.” The series saw multiple revivals after its original run in the 1950s.
8. Bonanza (1959–1973)
This NBC western followed the exploits of the Cartwright family, led by Lorne Greene as patriarch Ben and his sons Adam, Hoss, and Little Joe, on their sprawling Ponderosa ranch near Virginia City and Lake Tahoe. The show’s vivid depiction of ponderosa pines and the Sierra Nevada mountains was a visual treat for families fortunate enough to own one of the rare color TVs of the era.
The opening sequence features an old Western map unfurling across the screen as a country-western instrumental theme begins. The map ignites, revealing a stunning landscape, while the four Cartwrights ride toward the viewer. Each character’s face is shown as their credits appear. The theme song, “Bonanza,” was composed by David Rose and performed by Jay Livingston & Ray Evans. Johnny Cash and Johnny Western penned lyrics for the song, and Lorne Greene recorded a version featuring those lyrics.
7. American Bandstand 1952–1989
American Bandstand holds the record as the longest-running show on this list, airing on ABC for an impressive 37 years. It showcased countless rock songs that resonated with multiple generations of teenagers, many of which became chart-toppers thanks to the show’s exposure. Local teens were invited to dance to the latest hits, and each episode included interviews with rock stars, who would perform their newest singles. Dick Clark, who famously dubbed himself the world’s oldest teenager, produced and hosted the show from Philadelphia.
The original theme song, “High Society,” composed by Artie Shaw, was used during the show’s local broadcast days. When American Bandstand went national, it adopted Charles Albertine’s iconic “Bandstand Boogie,” a lively Big Band-style instrumental performed by Larry Elgart’s band. In the 1970s, Bruce Sussman and Barry Manilow added lyrics to the tune, telling the story of a boy who adored Bandstand and “might even show off his handstand” on the show. Manilow’s version became the show’s theme song from 1977 to 1987.
6. Peter Gunn (1958–1961)
Peter Gunn, a detective series created by Blake Edwards, featured Craig Stevens as the suave private investigator who worked out of a jazz nightclub. Lola Albright portrayed his girlfriend, a singer at the club. The show’s theme song, a rich and sophisticated jazz piece, was composed and conducted by Henry Mancini, who later gained fame with his “Pink Panther” theme in 1963.
This instrumental piece features a powerful, rhythmic beat and a standout tenor saxophone solo. Peter Gunn earned an Emmy nomination, and its theme song received two Grammy nominations. The track has been reinterpreted by numerous renowned jazz and rock artists, including Emerson, Lake & Palmer.
5. Dragnet (1951–1959)
The term 'Dragnet,' borrowed from fishing slang, refers to a coordinated effort to capture a criminal. It was also the title of a radio police drama that ran from 1949 to 1957. The TV adaptation debuted while the radio show was still on air and was later revived as Dragnet 1967. The series dramatized real cases from the Los Angeles Police Department’s archives, famously stating, “only the names have been changed to protect the innocent.”
Jack Webb, who portrayed Sergeant Joe Friday, served as the show’s narrator. His distinct, precise speech became iconic, inspiring countless comedic impressions. Johnny Carson famously parodied the show with Webb’s assistance on The Tonight Show. The series highlighted both the mundane and exciting aspects of police work, including paperwork, patrols, investigations, lab analysis, and interrogations. Law enforcement agencies nationwide praised the show for its authentic portrayal of police life.
Few musical openings are as instantly recognizable as the first four notes of Dragnet’s theme—DUM dee DUM DUM. These notes signaled to listeners and viewers that Dragnet was about to start. The music pauses briefly as an announcer declares, “Ladies and gentlemen: The story you are about to hear is true.”
The theme song, titled “Danger Ahead,” also serves as the “Dragnet March.” Composed by Walter Schumann, it was inspired by Miklos Rozsa’s score for the 1946 film The Killers. The track was performed by studio musicians.
4. Rawhide (1959–1966)
Rawhide was a quintessential western series centered around a cattle drive. Eric Fleming portrayed Gil Favor, a wise and fair trail boss. Producer Charles Warren meticulously researched the 1866 diary of real-life trail boss George C. Duffield to ensure authenticity. Wishbone, the irritable cook played by Paul Brinegar, often clashed with the cowboys over meals. Clint Eastwood, who gained fame through the show, starred as Rowdy Yates, Favor’s second-in-command, before taking over as trail boss in the final season.
The show’s country-western theme song vividly depicted life on the trail, complete with the sounds of cowboys shouting commands and cracking whips. Frankie Laine’s vocals included the iconic lines, “Cut ’em out, ride ’em in. Ride ’em in, cut ’em out, Rawhide.” The series popularized the phrase “hell bent for leather.” The song was composed by Dimitri Tiomkin and Ned Washington, known for their work on High Noon. Rawhide regained popularity when the Blues Brothers performed it in their 1980 film.
3. Perry Mason (1957–1966)
This timeless courtroom drama starred Perry Mason, a sharp Los Angeles defense attorney renowned for his exceptional detective skills. Based on Erle Stanley Gardner’s murder mysteries, each episode was crafted to fit a one-hour TV format. The first half focused on police investigations and Mason’s sleuthing, while the second half highlighted his courtroom prowess. Raymond Burr portrayed Mason as both stern and empathetic. Despite relying on a Teleprompter for his extensive lines, Burr delivered a convincing performance, making Mason the ideal attorney for anyone in legal trouble.
The memorable theme song for Perry Mason, titled “Park Avenue Beat,” was composed by Fred Steiner as a smooth, jazzy instrumental performed by studio musicians. It plays during the opening sequence as Mason receives a case file from the judge, which he then shares with Paul Drake, Della Street, Hamilton Burger, and Lieutenant Tragg. The credits roll as the music plays, making the tune instantly recognizable worldwide. The Blues Brothers humorously parodied the song on their Made in America album. Interestingly, Bernard Herrmann declined an offer to revise the theme, stating, “What do you want me to write a theme for? Steiner’s is perfectly good.”
2. I Love Lucy (1951–1957)
I Love Lucy remains a defining sitcom of the 1950s, airing on CBS for six seasons. Lucille Ball starred as a quirky housewife, while her real-life husband, Desi Arnaz, played her on-screen spouse, Ricky Ricardo, a Latin bandleader. Lucy and her neighbor, Ethel Mertz, frequently schemed to join Ricky’s nightclub performances, leading to countless comedic moments.
The show was famous for its slapstick humor, such as Lucy and Ethel struggling to keep up with a chocolate factory conveyor belt or stomping grapes in a wine vat. The episode “Lucy Goes to the Hospital” drew over 44 million viewers, making it the highest-rated TV episode at the time, with more than 70% of American households tuning in to witness the birth of “Little Ricky.”
The iconic I Love Lucy theme song was composed by Eliot Daniel, though he wasn’t credited due to his contract with Twentieth Century Fox. The Desilu Studio Orchestra performed the Latin Big Band-style theme. Lyrics by Harold Adamson were featured only once during “Lucy’s Last Birthday” and never used again. Music for the nightclub scenes was provided by members of Desi Arnaz’s real-life orchestra.
1. The Twilight Zone (1959–1964)
The Twilight Zone, a groundbreaking anthology series created and hosted by Rod Serling, aired on CBS for four seasons. Serling wrote 92 episodes, crafting morality tales that explored human lessons through horror, drama, comedy, and science fiction, often with unexpected twists. The show featured appearances by notable stars like Robert Redford, Burgess Meredith, Burt Reynolds, and Roddy McDowell.
The show’s haunting theme is unforgettable, beginning with four dissonant electric guitar notes repeated in succession. These are followed by a blend of guitar, bongos, brass, and flutes, evoking a sense of the mysterious. Bernard Herrmann, famous for the chilling violins in Psycho, composed a theme for The Twilight Zone that was ultimately unused.
Instead, the theme was created by splicing together two short pieces composed and performed by Marius Constant for CBS’s sound library. Constant was unaware of this usage for years and received no royalties, only his initial fee. No composer was credited for the theme.
