Buzz
During the early 1970s, cable networks were still absent. ABC, CBS, and NBC, known as The Big Three, held a firm grip on American television, broadcasting programs that collectively reached 90% of viewers. To thrive in the fierce competition, producers adhered to cautious programming strategies, ensuring their shows attracted massive audiences.
However, societal shifts began to challenge the status quo in entertainment. For example, in 1971, CBS replaced its rural-themed shows with urban-focused series tackling bold and contentious issues. Programs like Good Times, Sanford and Son, and Chico and the Man introduced ethnic characters previously underrepresented on TV. Female leads were portrayed independently, without romantic partners. One Day at a Time centered on a single mother navigating life with her teenage daughters, while Maude, starring Bea Arthur, depicted a strong-willed woman with a more subdued spouse.
These shifts also influenced theme songs. Charles Fox, a seasoned songwriter, explained his approach: “The aim is to encapsulate the show’s essence in a vibrant, engaging, and appealing way.” A successful theme song would grab the viewer’s attention and draw them into the show. TV programs needed music that resonated emotionally and lyrics that reflected societal awareness. Instrumental themes had to be memorable and distinctive. The following theme songs not only met these criteria but exceeded them.
9. Happy Days: 1974–1984
Happy Days centered on the lives of teenagers in 1955 Milwaukee. The main character, Richie Cunningham, portrayed by Ron Howard (known for his role as Opie on The Andy Griffith Show), was a cheerful high school student. The show also highlighted Richie’s friends—Potsie, Ralph Malph, and Fonzie—as well as his family. Fonzie, played by Henry Winkler, became a fan favorite with his iconic leather jacket and tough yet kind-hearted persona. The series inspired several spin-offs, including major successes like Mork & Mindy and Laverne & Shirley.
For the first two seasons, producer Garry Marshall chose Bill Haley and the Comets’ 1950s classic “Rock Around the Clock” as the opening theme, while “Happy Days” played at the end. By 1976, “Happy Days” became the opening theme and stayed for the remainder of the series. The intro featured a jukebox loading a 45 rpm record labeled “Happy Days,” kicking off the song. Its upbeat tempo and memorable lyrics offered viewers a nostalgic and enjoyable experience. The song itself became a hit, peaking at number 25 on the Billboard charts. It was composed by renowned TV theme writers Norman Gimbel and Charles Fox.
9. The Waltons: 1972–1981
The Waltons stood out as a nostalgic and rural counterpoint to the social changes of the 1970s. Despite its traditional setting, it gained immense popularity, winning two Golden Globes and an Emmy. The series was inspired by creator Earl Hamner Jr.’s early life, based on his novel Spencer’s Mountain and its film adaptation.
In 1971, CBS aired The Homecoming, a TV movie that served as the pilot for The Waltons. The show depicted the life of a large, loving family on Walton’s Mountain during the Great Depression in West Virginia. John-Boy Walton, the eldest of seven children, aspired to be a writer. The parents and grandparents instilled traditional values in the children as they navigated life’s challenges. The iconic closing scene, with the family exchanging multiple “good nights,” was drawn from Hamner’s own childhood experiences.
The iconic and evocative instrumental theme for The Waltons was composed by veteran TV music creators Gerry Goldsmith and Alexander Courage. While the Daniel Caine Orchestra performed the piece, Chuck Mangione’s flugelhorn added a deeply emotional touch to the beautiful melody. Mangione later rose to fame with his chart-topping hit “Feels So Good.”
8. The Muppet Show: 1976–1981
Jim Henson and Frank Oz brought The Muppets, already beloved from their daily appearances on PBS’s Sesame Street, to prime-time television. Their goal was to craft a show that appealed to both kids and adults. Each episode featured Kermit the Frog hosting a variety show at the Muppet Theatre, joined by his Muppet friends and a celebrity guest. The program became a nostalgic snapshot of 1970s music and entertainment.
Characters like Fozzy Bear, Miss Piggy, Animal, and the Swedish Chef took center stage. Chaos often ensued as the Muppets struggled to keep the show running smoothly. In the balcony, Statler and Waldorf, the two grumpy old Muppets, provided their signature sarcastic commentary. The show was filmed at ATV and distributed globally by Britain’s ITC Entertainment.
The lyrics by Jim Henson and Sam Pottle captured the essence of show business: “It’s time to put on makeup/It’s time to dress up right/It’s time to raise the curtain/On the Muppet Show tonight!” The theme song played as a lavish title card appeared, with the camera zooming into the letter O, which opened to reveal Kermit as the show’s host.
7. M*A*S*H: 1972–1983
M*A*S*H was a popular American TV series following a group of medical staff at the 4077th Mobile Army Surgical Hospital during the Korean War. Inspired by Richard Hooker’s autobiographical novel and Robert Altman’s film of the same name, the show became a cultural phenomenon, earning 14 Emmy Awards over its lengthy run.
The series highlighted the challenges faced by surgeons Hawkeye Pierce and Trapper John McIntire as they performed life-saving “meatball surgery” while trying to maintain their sanity. Major Hot Lips Houlihan and Major Frank Burns added tension as their adversaries, while Radar O’Reilly’s uncanny ability to predict incoming casualties kept the camp on its toes. Fans often joked that the show outlasted the actual Korean War by three times.
The show’s memorable theme, composed by Johnny Mandel, originated from a scene in the film depicting a staged suicide, known as the “last supper.” Robert Altman’s teenage son was tasked with writing absurd lyrics for the scene, but instead, he penned deeply moving reflections on suicide. These lyrics were deemed too explicit for TV, so producer Larry Gelbart opted for an instrumental version performed by The Hollywood Prime Time Orchestra. Michael Altman, as a co-writer, earned over a million dollars in royalties from the song.
6. The Jeffersons: 1975–1985
Cultural critics, including the Black Panthers, criticized TV executives for depicting black individuals as impoverished victims. Producer Norman Lear addressed this concern by introducing a black family as neighbors to the Bunkers in All in the Family. This led to the creation of The Jeffersons.
George Jefferson, the family patriarch, ran a thriving chain of dry-cleaning businesses. As their success grew, the Jeffersons decided to move to Manhattan’s upscale east side. The show became the first spin-off of All in the Family, making waves by portraying an affluent black family and addressing interracial marriage through Lionel’s relationship. The show’s sharp comedic writing softened any potential cultural discomfort for viewers.
The theme song of The Jeffersons is more iconic than the show itself. Co-written by Ja’net DuBois and Jeff Barry, the song had a strong Gospel influence. DuBois delivered the powerful “We’re moving on up” vocals, supported by a 35-member gospel choir, piano, and energetic hand-clapping. When she reached the line “Now we up in the big leagues,” Oren Waters joined in, creating a dynamic duet that captured the excitement of George and “Weezie” achieving their dreams.
5. Welcome Back, Kotter: 1975–1979
The show’s premise is clear from its title. Gabe Kaplan, who also co-created the series, played Gabriel Kotter, a kind-hearted teacher returning to his former high school, Buchanan High, in an inner-city neighborhood. There, he taught a group of underachieving students known as the Sweathogs, who reminded him of his younger self. Under Kotter’s guidance, these students began to grow and learn.
Among the Sweathogs, the standout character was played by John Travolta, who later became a Hollywood icon. His character, Vinnie Barbarino, was known for his humorous catchphrases like “Up your nose with a rubber hose!” The show addressed serious topics such as violence, teen pregnancy, and drug abuse while maintaining its comedic tone.
John Sebastian, founder of The Lovin’ Spoonful, composed and performed the show’s theme song. Initially intended to be titled “Welcome Back, Kotter,” Sebastian struggled to find a rhyme for “Kotter” and instead crafted a nostalgic tune about an unnamed man returning home. The song became a massive hit, reaching number 1 on the Billboard charts in 1976. Originally, the show was to be named Kotter, with the theme song titled “Welcome Back.” The producers wisely combined the two, creating a memorable title.
4. The Rockford Files: 1974–1980
The Rockford Files marked James Garner’s first solo lead role in a TV series. Roy Huggins, the show’s creator, reimagined Garner’s earlier character, Bret Maverick, as a contemporary private investigator. The series became a massive success, with Garner portraying Jim Rockford, a struggling LA private detective who worked out of his trailer. Rockford preferred talking his way out of trouble rather than resorting to violence. His Pontiac Firebird became iconic in the show’s thrilling chase scenes.
Every episode opened with the sound of a beep, followed by an answering machine message, often from a disgruntled creditor. As the message ended, the theme song kicked in. This lively instrumental featured a Minimoog synthesizer, flutes, French horns, trombones, and a blues harmonica, with Dan Ferguson adding an electric guitar bridge. Composed by Mike Post and Pete Carpenter, the song reached the top 10 on the Billboard charts in 1975 and won a Grammy, making it the first Minimoog-driven hit.
3. The Mary Tyler Moore Show: 1970–1977
Mary Richards, a single woman in her thirties, moved to Minneapolis to work as a television producer at WJM under Lou Grant. This groundbreaking show marked the first time an unmarried woman living independently took the lead in an American TV series. Rather than overtly addressing political issues, Grant Tinker—Mary Tyler Moore’s husband and co-creator of the MTM production company—handled these themes with subtlety and nuance.
Mary interacted as an equal with her colleagues Lou, Murray, and Ted, while sharing heartfelt moments with friends Rhoda and Phyllis in their iconic Victorian home. The show’s natural and relatable storytelling, combined with exceptional writing and acting, earned it an impressive 29 Emmy Awards over its seven-season run.
“Who can turn the world on with her smile? Who can take a nothing day And suddenly make it all seem worthwhile?”
The theme song, “Love Is All Around,” is irresistibly catchy. Its creation story is almost theatrical. Sonny Curtis, a seasoned composer, was asked by a friend to write a theme for the show with only a brief description. He composed the song and performed it on an empty CBS soundstage for a skeptical executive. By the tenth performance, the room was filled with enthusiastic approval, and the song became an instant hit.
Each episode began with a montage of Twin Cities landmarks, set to the show’s theme song. Scenes included Mary strolling by Lake of the Isles, browsing shops on Nicollet Mall, riding an escalator, dining at the IDS Crystal Court, and, most famously, tossing her hat into the air. Years later, Mary recalled the director simply saying, “Go. Do it,” leading to the creation of this iconic moment. A statue in downtown Minneapolis, near the old Dayton’s Department Store, immortalizes the hat-toss scene.
2. All in the Family: 1971–1979
Norman Lear and Bud Yorkin developed this groundbreaking series, inspired by the British show Till Death Do Us Part. Set in Queens, New York, it centered on Archie Bunker, a blunt dockworker portrayed by Carroll O’Connor. The Bunker household included Archie, his wife Edith, their daughter Gloria, and her husband Mike.
The show thrived on the fiery debates between Archie and Mike over politics. Its sharp writing and stellar performances made it both hilarious and impactful. All in the Family is often regarded as one of the most influential TV shows ever, captivating half the audience in its time slot at its peak.
The theme song, “Those Were the Days,” was composed by Charles Strouse and Lee Adams. The opening sequence featured a sweeping view of Manhattan, zooming into Queens and settling on 704 Hauser Street. Archie and Edith, played by Carroll O’Connor and Jean Stapleton, sat at a piano, singing nostalgic lyrics like “Boy, the way Glenn Miller played. Songs that made the Hit Parade…” Originally a budget-saving choice, the piano intro became one of the most iconic moments in TV theme song history.
1. Dallas: 1978–1991
Dallas pioneered the prime-time soap opera genre. Created by producer David Jacobs, it debuted as a miniseries in April 1978 and later expanded into a weekly series that ran for 13 seasons. Its immense popularity inspired similar shows like Knot’s Landing and Dynasty.
The show revolved around J.R. Ewing, a ruthless oil tycoon, as he schemed to safeguard the Ewing oil empire from rivals like the Barnes family. The series also delved into the lives of other family members, including Bobby and parents Jock and Miss Ellie Ewing. A standout moment was the “Who Shot J.R.?” cliffhanger, with the resolution episode becoming the most-watched TV show in American history. Dallas achieved global success, airing in over 130 countries and winning 4 Emmys.
The instrumental theme, composed by Jerrold Immel, blended cowboy music with orchestral and synthesizer elements. It captured the essence of Texas—vast ranches, oil wealth, and political influence—while visuals showcased skyscrapers, luxury cars, cattle herding, and the iconic Southfork ranch. The song’s grandeur often drew comparisons to Aaron Copland’s compositions.
