Buzz
The 1980s saw a shift in TV viewership as new cable channels like MTV, HBO, and CNN began to challenge the dominance of the traditional big three networks—ABC, CBS, and NBC. The situation was further complicated when Fox entered the scene, marking the start of a decline for the major networks' reign over American entertainment.
With the advent of videotapes, video games, and remote controls, viewers were no longer confined to watching a single channel. They could record programs to watch later, play games, or flip between channels during commercial breaks. In response, networks had to innovate, introducing fresh comedies, dramas, and prime-time soap operas to captivate their audience.
These technological advancements influenced the creation of TV theme songs. Writers were encouraged to craft even more memorable and infectious tunes, with production values matching those of the music industry. Luckily, the major networks had access to a wealth of talented composers, lyricists, musicians, and vocalists, who were capable of producing iconic, award-winning theme songs that could capture the attention of viewers flipping through channels.
The most memorable theme songs perfectly captured the spirit of the show and its characters, making viewers feel a sense of connection. These songs were so powerful, they would stop channel surfers in their tracks. Here are the 10 best TV theme songs from the 1980s.
10. Dynasty: 1981–1989
This prime-time soap opera, launched by CBS following the massive success of Dallas, focused on the dramatic feuds between two wealthy families in Denver—the Carringtons and the Colbys. Like Dallas, the show explored themes of oil fortune and the political influence that came with it. Producer Aaron Spelling ensured that glamour and intrigue were central to the plot as both families fought for dominance.
Audiences were captivated by the bitter rivalry between Blake Carrington's wife and ex-wife, sometimes even leading to physical confrontations. Alexis, the ex-wife, earned a reputation as the female counterpart to J.R. Ewing. By 1985, the show had amassed 60 million weekly viewers. Composer Bill Conti crafted the iconic theme for Dynasty, featuring a bold horn section in a fanfare style, signaling viewers' entrance into a world of power and luxury. The theme even reached number 52 on the Billboard chart in 1982.
9. Magnum P.I.: 1980–1988
Magnum, P.I. starred Tom Selleck as a laid-back detective, always seen in a Hawaiian shirt, shorts, and a Detroit Tigers cap as he solved mysteries. He lived as a guest at the luxurious Hawaiian estate of the famous writer, Robin Masters, whom viewers never actually saw—only hearing his voice, provided by Orson Welles.
Thomas Magnum solved cases with a perfect blend of private investigator wit and action. Magnum seemed to be having a blast, except when dealing with the by-the-book British Major Higgins, played by John Hillerman, who managed the estate. Magnum also occasionally referenced Detective Steve McGarrett from Hawaii Five-O. In one episode, Jessica Fletcher from Murder, She Wrote even helped clear Magnum when he was wrongfully accused of murder.
The theme song for Magnum, P.I. was composed by Mike Post, who was known for crafting memorable tunes for shows like Quantum Leap, Law & Order, and The A-Team. The upbeat melody set the stage for an action-packed hour, accompanied by quick cuts showing a helicopter, a Ferrari 308, Magnum in action, explosions, gunfights, and glimpses of his co-stars. The energetic tune climbed to number 25 on the Billboard charts in 1982.
8. Miami Vice: 1984–1989
When you think of the 1980s, you think of Miami Vice—a show that was as much about fashion (with outfits designed by Italian stylists) as it was about music. Co-creator Anthony Yerkovich described it as “MTV Cops,” a fitting label considering his background as a producer on Hill Street Blues.
Don Johnson starred as Crockett, and Philip Michael Thomas played Tubbs, two Miami-Dade County cops taking on the drug trade in the South Beach area. The series often featured high-speed boat chases in the harbor and patrolling the iconic Ocean Drive. Miami’s art deco hotels added a visual appeal for viewers. In a memorable moment, when Don Johnson was introduced to Don Shula, the head coach of the Miami Dolphins, as Don Johnson from Miami Vice, the coach responded, “Glad to meetcha. You guys do a real good job.” He had mistaken Johnson for an actual cop.
The pilot episode of Miami Vice didn’t feature the iconic theme song. Instead, Miami was introduced through a lengthy montage, accompanied by Phil Collins' hit “In the Air Tonight.” The rest of the episodes, however, opened with the hard-hitting instrumental theme composed and performed by Jan Hammer, showcasing the vibrant city, its people, and action-packed scenes from the show. The track became so beloved that it reached number 1 on the Billboard charts in 1985, and no instrumental would match its success for decades. The song also won two Grammys.
7. A Different World: 1987–1993
A Different World was a spin-off from The Cosby Show. The show centered on Denise Huxtable (Lisa Bonet), daughter of Heathcliff Huxtable (Bill Cosby), as she attended Hillman College, a fictional version of real-life historically Black colleges. The series explored her interactions with fellow students and faculty, blending comedy with drama.
Debbie Allen, the producer and director, was a graduate of a historically Black college, Howard University. She ensured authenticity by taking the writing team to Black colleges in Atlanta, which helped them incorporate relevant campus topics into the show.
The theme song was co-written by Bill Cosby, Stu Gardner, and Dawnn Lewis (who played Jaleesa on the show). Phoebe Snow performed the Season 1 version. Aretha Franklin later reimagined “It’s a different world than where you come from” as powerful soul music for Seasons 2-5, and Boyz II Men, along with Terrence Forsythe, brought a lighter tone for Season 6.
6. Hill Street Blues: 1981–1987
The exact location of Hill Street Blues was never made clear to viewers, but that didn’t matter. With its handheld camera work, multi-episode story arcs, and a large ensemble cast of well-developed characters, the show captivated audiences with its portrayal of realistic police work. Creator Steven Bochco deliberately kept the setting vague, blending elements from cities like Chicago, Pittsburgh, and Buffalo, New York.
The Maxwell Street precinct in Chicago served as the exterior for Hill Street’s police station. The show won 8 Emmys in 1981 and became a major money-maker for NBC with its high ratings. In fact, Hill Street Blues was the first weekly TV show to receive $1 million for a single episode.
Mike Post composed the show’s beautiful and mellow theme in just two hours. The opening shot shows three police cars speeding out of the station as the music begins. Post initially wanted to add more orchestration, but creator Steven Bochco preferred a simpler sound. They compromised with some horns in the background to complement the piano, and it worked. The theme reached number 10 on the Billboard charts in 1981 and won a Grammy.
5. Seinfeld: 1989–1998
In the late 1980s, comedian Jerry Seinfeld, experiencing a surge in popularity, was offered the chance to create a television show with NBC. The show, titled Seinfeld, became the story of a stand-up comedian and his quirky group of friends living in New York. Although it was marketed as a show about 'nothing,' there were constant hints that it explored deeper aspects of everyday life. The majority of the action took place in an apartment building in Manhattan's Upper West Side.
Seinfeld, concerned about the music being planned for his show, confided in his real-life friend, George, who then introduced him to Jonathan Wolff. Seinfeld explained the unique challenges Wolff would face in composing music for Seinfeld, given the unconventional nature of the show.
Each episode of Seinfeld began with Seinfeld on stage performing stand-up comedy. The music needed to align perfectly with the timing of his jokes and the audience's laughter. Wolff's solution was to keep things simple: using slap bass, horns, and finger snaps to create minimal music that wouldn't overpower Seinfeld's voice and the live crowd's reactions. As a result, each episode had a distinct opening theme that varied from one to the next.
4. Night Court: 1984–1992
Night Court revolved around the staff of a Manhattan municipal court, with a particular focus on the defendants who appeared before Judge Harry T. Stone, played by Harry Anderson, during the late-night sessions. Known for his easygoing attitude, the judge would often perform magic tricks to lighten the mood in the courtroom. The concept for the show was conceived by Reinhold Weege, who was inspired after attending real night court sessions in New York.
Some eccentric individuals filled the courtroom, and not all of them were on trial. Weege chose Anderson for the lead role after watching his magic act on episodes of Cheers. Another one of Weege's tricks was naming characters after his real-life friends, including pimps and hookers, allowing him to greet them on television.
The theme song introduces each character, accompanied by a bass-heavy beat. Jack Elliot, the composer known for Barney Miller and Charlie’s Angels, created the melody. Ernie Watts, a prominent Motown saxophonist and former member of the Tonight Show Orchestra, performed the tune.
3. Cheers: 1983–1992
A place where everyone knows your name, where locals gather to drink and socialize—that's the essence of Cheers, as expressed in its famous theme song. The bar’s owner and bartender, Sam Malone, a former relief pitcher, is joined by Diane the server, waitress Carla, old baseball player Coach, the know-it-all Cliff, and the accountant Norm, rounding out the memorable cast.
Created by James Burrows along with Glen and Les Charles, Cheers revolves around the on-and-off dynamic between Sam and Diane, akin to a Tracy-Hepburn style relationship. With exceptional writing and performances, the show won 77 awards, including 6 Golden Globes and 28 Emmys.
Gary Portnoy and Judy Hart Angelo initially presented two songs that the producers quickly dismissed. Undeterred, they crafted a third song that perfectly matched the vibe of the show, the now-iconic "Where Everybody Knows Your Name." Portnoy himself performed it, starting with just a piano. As the track progressed, a drum, guitar, and bass layered over the initial piano, and Portnoy's voice was overdubbed to create a virtual chorus for the chorus. A simple yet timeless tune, it eventually became one of the most recognizable TV theme songs of all time.
2. Amen: 1986–1991
Amen centers around Ernest Frye, a self-important, scheming deacon portrayed by Sherman Hemsley, best known for playing George Jefferson. The show delves into his numerous conflicts with a new minister at the First Community Church of Philadelphia. Frye is constantly coming up with outlandish plans for the church, while his daughter Thelma is captivated by the new pastor, Reuben Gregory. Despite her father's disapproval, Thelma and Reuben marry by Season 4.
The theme for Amen is "Shine on Me," a spirited gospel number penned by renowned gospel artist and composer Andrae Crouch. The lead vocals were provided by Grammy-nominated gospel singer Vanessa Bell Armstrong, accompanied by a gospel choir. The opening sequence of the show featured exterior shots of the Mount Pisgah African Methodist Episcopal Church in Philadelphia, where viewers see Frye entering the church during the credits.
1. The Golden Girls: 1985–1992
Everyone familiar with a certain generation is likely to know about The Golden Girls. This beloved show revolves around four older women who, despite occasional friction from sharing a comfortable home in Miami, manage to maintain their deep friendships. The iconic characters were portrayed by legendary movie and TV stars: Beatrice Arthur, Betty White, Rue McClanahan, and Estelle Getty.
The show became a massive hit, earning numerous Golden Globe awards. Each of the stars won an Emmy, and the late Queen Mother was such a fan that she requested a live performance for her. In 1988, the cast and crew secretly performed a live version of the show at the London Palladium to fulfill her wish.
The theme song of the show, "Thank You for Being a Friend," was written and performed by Andrew Gold in 1978 for his album All This and Heaven Too. It took him only about an hour to compose the song. Cynthia Fee later covered it for The Golden Girls.
