Lindsey Buckingham talk about being fired from Fleetwood Mac Stevie Nicks. Good morning America. - Duration: 10:56. Jettkev 152,216 views. Mary Tyler Moore Theme (Season 4) Downloads: 1791.WAV ( 99 kB) Mary Tyler Moore Theme (Season 2) Downloads: 1800.WAV (140 kB) Mary Tyler Moore Theme (Season 1) Downloads: 1802.WAV (140 kB) Mary Tyler Moore Theme Downloads: 1807.MID ( 13 kB) Mary Tyler Moore Theme (Last Season) Downloads: 2142.MP3 (920 kB) Mary Tyler Moore Theme (Season 1). Watch the intro and theme song of The Mary Tyler Moore Show above. On The Dick Van Dyke Show, Moore played Laura Petrie, a Westchester wife and former dancer. 18 Memorable TV Theme Songs. By the Editors of Publications International, Ltd. Love Is All Around (Mary Tyler Moore) Songwriter Sonny Curtis wrote and performed the empowering theme song for this trailblazing show about women's lib and the single life of spunky career woman Mary Richards. The opening sequence showed a fresh. Jan 25, 2017 Mary Tyler Moore, dies at age 80, Jan. She gave us so much. Mix - Mary Tyler Moore - Theme Song YouTube; Top 10 Wheel of Fortune Fails - Duration: 8:19. 1-16 of 18 results for 'mary tyler moore theme song' Amazon Music Unlimited. Listen to any song, anywhere. Available for download now. 1 out of 5 stars 2.
The Mary Tyler Moore Show opening sequence is an element of the American television series The Mary Tyler Moore Show. In 1999, Entertainment Weekly picked Mary Richards' hat toss at the end of the sequence as the 1970s' second-greatest television moment.[1] The theme song, 'Love Is All Around', was written and performed by Sonny Curtis.
The original opening title sequence for the show begins with the name of its star across the screen in Peignot font, which then multiplies both upward and downward vertically in a number of colors, followed by a montage of Mary driving towards Minneapolis towards her new home, and walking in her new neighborhood. In the final shot, she gleefully tosses her Tam o' Shanter in the air in the middle of the street; a freeze-frame captures her smiling face and the hat in mid-air.
The sequence was created by Reza Badiyi who had also done the opening sequence for Hawaii Five-O. Badiyi came up with the idea for the final shot, which Entertainment Weekly ranked as the second greatest moment in 1970s television.[1] An older woman can be seen in the background, obviously puzzled by the sight of a young woman tossing her hat in the air. This unwitting 'extra' was Hazel Frederick, a lifelong Minnesota resident who happened to be out shopping the day the sequence was shot. Mrs. Frederick finally met Moore in 1996 when she was on a book tour for her autobiography, After All. Moore introduced Frederick as 'my co-star'.[2]
Even though many people thought that the scowling woman in the opening sequence was grumpy-looking, she actually had just been concerned for Mary's safety. In 2002, on Good Morning America, Mary said, 'It was so cold, I couldn't protest. The words weren't forming,' she said. 'So I did as I was told, and dear Hazel Frederick, who was frozen forever in the background, looking with what appears to be a scowling face at me, and she told me later, because I did meet her, that it was just that she had no idea what was going on, never saw a camera. She just thought there was a lunatic about to lose her life.'[3]
The theme visuals were changed significantly after Season 1, and were usually 'tweaked' every season thereafter In later seasons, David Davis is given a credit for 'Title Visualization'. The 'driving to Minneapolis' sequence was dropped, and the theme then featured brief shots of Mary, mostly engaging in everyday activities around Minneapolis as well as interacting with the newsroom staff. In a brief sequence set in the newsroom, Mary hugged Lou, Murray and Ted, accidentally crushing Ted's fedora in the process, before straightening it out. This was a scene from the end of the Season 1 episode 'Christmas and the Hard-Luck Kid', although the producers eventually re-shot this sequence for use in the opening credits from Season 4 onward.
Also seen during Season 2 and Season 3 were shots featuring Mary and Rhoda in Mary's apartment, as well as a shot of Mary and Phyllis, which was inserted into episodes in which Phyllis appeared. (Her portrayor, Cloris Leachman, was a semi-regular, and did not appear in every episode.) During Season 4 and Season 5, the interior shot of Mary and Rhoda was replaced with a brief shot of Mary and Rhoda walking down a Minneapolis street, laughing. This shot remained until Valerie Harper left the series in late 1974, although it also appeared in two 1975 episodes. The characters of Sue Ann and Georgette, both semi-regular characters after Season 4, never appeared in the opening credit sequence.
No matter what other changes were made from year to year, however, the iconic final hat-tossing shot (which featured Hazel Frederick) was retained in every iteration of the theme.
Other clips used in later versions of the theme:
| 'Love Is All Around' | |
|---|---|
| Single by Sonny Curtis | |
| from the album Love Is All Around | |
| Released | July 1980 |
| Format | 7' |
| Recorded | 1980 |
| Length | 2:44 |
| Label | Elektra Records |
| Songwriter(s) | Sonny Curtis |
The theme song, 'Love Is All Around', was written and performed by Sonny Curtis, but is often mistakenly attributed to Paul Williams; Pat Williams wrote the show's music. The first season's lyrics are words of encouragement directed to the character, referring to the end of a previous relationship and making a fresh start, beginning with 'How will you make it on your own?' and concluding with 'You might just make it after all.'[7] The more familiar version of the song used in seasons 2–7 changed the lyrics to affirm her optimistic character, beginning with the iconic line 'Who can turn the world on with her smile?' and concluding with a more definitive 'You're gonna make it after all.'[8] An instrumental version of the tune was used for the show's closing credits featuring a saxophone on lead in Season 1; a new version of the closing was usually recorded each season, sometimes with only minor changes. A different instrumental version of the song was later used for the opening of Moore's 1979 variety series, The Mary Tyler Moore Hour.
Sonny Curtis recorded two full-length versions of the song, both with significantly different arrangements from the TV versions. The first was released as a single on Ovation Records in 1970, while the second was included on Curtis' Elektra Records album of the same name in 1980. The latter recording, which featured a country arrangement, reached No. 29 on the BillboardHot Country Singles chart.
The song has been covered by artists such as Ray Conniff, Joan Jett & The Blackhearts, Christie Front Drive, Sammy Davis Jr., and Twin Cities-based Hüsker Dü, the latter who also reproduced several scenes of the opening on location for their music video. The song was also featured in a long-running commercial for Chase bank in the mid-2000s, and was sung in the TV series 7th Heaven in the episode 'In Praise of Women' during the birth of the Camden twins. A dance version was featured in the 1995 Isaac Mizrahi documentary Unzipped. The 2000 TV movie Mary and Rhoda started with a version of this song, with modern lyrics and a grunge sound.
During the ending scene of the 2016 film Christine, about a TV reporter/newscaster, the song is heard playing on the TV, and sung along to by one of the characters.
Many of the outdoor scenes in the opening sequence were filmed along Nicollet Mall in Minneapolis.In 2001, The New York Times stated that it is not unusual for people walking along the mall to be so reminded of the show that they toss their hats in the air, as Mary did at the end of the sequence.[9]
The iconic hat toss was filmed at the intersection with 7th Street. On May 8, 2002, cable TV network TV Land dedicated an 8-foot (2.4 m) tall bronze statue of Moore tossing her hat near that intersection.[10] Many in the press were skeptical of TV Land's motive at first, some claiming it was a marketing strategy, and one Macalester College professor stating that it was 'like honoring a unicorn.'[11] Moore herself unveiled the statue, where 3,000 tams were distributed to the crowd of onlookers so they could participate in a commemorative hat toss.[10]
The Dayton's department store in the background of some of those scenes (later a Marshall Field's and a now closed Macy's) has changed considerably in appearance. The exact spot where the cap toss occurred has been debated extensively, because the layout along Nicollet has changed substantially since the early 1970s; the actual backdrop of the toss, the Donaldson's department store catty-corner to the site, was destroyed in 1982 by the Minneapolis Thanksgiving Day Fire.
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The IDS Center was under construction when the original opening sequence was filmed. For an updated sequence used during the fourth season, Mary visited the recently completed IDS Center and was seen riding up the escalator in the Crystal Court.This exposure on prime-time television pre-dated, by two months, the official presentation by architect Philip Johnson of the completion of the project in Architectural Forum.[12] Another scene from the same building showed Mary dining with a man (her husband, Grant Tinker) at what is now the Mary Tyler Moore table at Basil's Restaurant. In 2006, the manager of Basil's said that his customers still frequently request the table where Mary sat.[13] The IDS Center is located across the street from RSM Plaza, which was used for establishing shots of Mary's workplace.[14]
Scenes showing Mary driving a white 1970 Ford Mustang toward Minneapolis in the first-season sequence were supposedly filmed on Interstate 494 (the Doubletree by HiltonBloomington, at the time a Radisson, can be seen in the background) and approaching downtown Minneapolis on the Trunk Highway 65 spur from northbound I-35W. Furthermore, an aerial shot that prominently features the Basilica of Saint Mary features US 12 (now Interstate 394) heading west away from the city near the exit to Lyndale Avenue. I-94, which nowadays runs behind the Basilica from the aerial's vantage point, was not yet completed in the area at the time the aerial film was shot.
Some of the scenes with Mary walking in front of lakes and with school children were shot around Lake of the Isles at different times of the year. A scene with school children and a crossing guard was shot at the north end of the lake at Franklin facing south. [15][16] In season 6 she is seen walking in the winter with the bridge over the Cedar Lake channel passageway in the background. [17] The image transitions to summer and we see Mary walking along the Northeast shore passing joggers. The images in this clip are mirror-image flipped (with a left-right transposition), probably for the continuity of walking direction with the previous clips.
In 1997, the Seattle Post-Intelligencer called the sequence one of the best in history.[18] In 2010, TV Guide ranked the sequence #3 on its list of TV's top 10 credits sequences, as selected by readers.[19] In 2017, James Charisma of Paste ranked the show's opening sequence #15 on a list of The 75 Best TV Title Sequences of All Time.[20]
The sequence has been referenced and parodied numerous times. Oprah Winfrey recreated the entire opening sequence of the show in Chicago, with herself in the role of Mary. The All New Alexei Sayle Show parodies the opening credits in its opening sequence, with Alexei Sayle dancing through the streets of London to the theme song 'Life's a Big Banana Sandwich'. In the 'Saturdays of Thunder' episode of The Simpsons (also produced by Mary Tyler Moore creator James L. Brooks), Homer criticizes his sister-in-law Patty's Mary Tyler Moore style hairdo, to which her sister Selma insists he be ignored, retorting, 'You can turn the world on with your smile,' in reference to the theme song's opening lyric.[21]
A 1984 episode of Saturday Night Live included a sketch that quoted the theme. Guest-host Ed Asner (who had played Lou Grant on Mary Tyler Moore) reprises the character as hiring mercenaries to 'rescue' Mary from 'syndicated reruns'. Two of the mercenaries, played by Rich Hall and Jim Belushi, ask about the objective:
Mercenary #1: Is it true what they say about her?
Lou Grant: What?
Mercenary #1: She can turn the world on with her smile.
Lou Grant: [ sentimental ] Yeah.. yeah, she could..
Mercenary #2: And could she really take a nothing day, and suddenly make it all seem worthwhile?
Lou Grant: No, of course not! Don't be stupid![22]
Often, the hat toss is the main focus of the parody. During the closing credits of the spin-off Rhoda, she also tries to fling her hat in the air while in the middle of Times Square, but it just falls to the ground and she must sheepishly pick it up. In the episode 'And Maggie Makes Three' of The Simpsons, while working at a bowling alley, Homer spins around singing, 'I'm gonna make it after all!', and tosses a bowling ball in the air, denting the hardwood floor when it falls. In the first episode of Suddenly Susan, Brooke Shields' character hears the theme song from The Mary Tyler Moore Show and throws her remote control in the air. It hits her in the head.[23]Peter Griffin wins a piano competition in the Family Guy episode 'Wasted Talent' by playing 'Love is all around.' Afterwards, during the audience's applause a girl throws her hat in the air and freezes, while those around her look perplexed as to why she and the hat are not moving. On the series Girlfriends, Maya throws her hat in the air after arriving in New York City to meet with a book publisher; the hat is caught by someone walking nearby, who runs off with it. Adam Carolla parodied the twirl and freeze-frame hat toss at the end of the opening credits for his home improvement series The Adam Carolla Project. In sixth season All in the Family episode 'Mike's Move', when Edith learns that Mike was offered a teaching job in Minneapolis, she asks, 'Isn't that the place where Mary Tyler Moore keeps losing her hat?'
In the Scrubs season one episode, 'My 15 Minutes', Elliot takes a cab downtown at night. The Mary Tyler Moore theme plays as Elliot emerges from her cab. She twirls around and tosses her hat into the air and the music stops with a jolt when a young man bumps into her. He grabs the hat and sticks it on his head and keeps walking. The Latest Buzz twice parodies the hat toss: in the pilot 'The First Issue', Rebecca (one of the new teen writers of Teen Buzz magazine) throws her hat up before leaving the office, which fails to come down; this is revisited in the series finale 'The Final Issue' (which involves the staff's firing, similar to the final episode of The Mary Tyler Moore Show), as one of the replacement teen writers, Lucy, does the toss with the same result, down to Rebecca giving the same advice to Lucy that her boss DJ gave to her during her first week on the job after the hat toss mishap.
“Who can turn the world on with her smile?”
Anyone who had a television in the 1970s can easily answer that it was Mary Tyler Moore, who died Wednesday at age 80. Many could add that she’d also “take a nothing day, and suddenly make it all seem worthwhile.”
As delivered at the beginning of each episode of “The Mary Tyler Moore Show,” those lines are from the song “Love Is All Around,” written by singer-songwriter Sonny Curtis. Those words helped set the tone for the sitcom about a single woman making a go of it in Minneapolis.
Curtis has no doubt told the story of his theme many times, but reached on the phone at his home outside of Nashville, Tenn., he said he was a little wary of the renewed attention at this juncture. “I don’t want anyone to think that I’m using this as an opportunity,” he said.
He needn’t worry.
Over the course of his 60-plus-year career, Curtis earned accolades for his guitar playing with his friend Buddy Holly, as well as his skills as an early rock ’n’ roller armed with a Fender Stratoscaster. He’s also the writer of another American classic, “I Fought the Law,” which was made famous by the Bobby Fuller Four and, later, the Clash. (Spoiler alert: The law won.)
Curtis, 79, said he’d heard the news of Moore’s death Wednesday. He was holding grocery bags after a trip to the supermarket when a reporter called. Though he and Moore didn’t know each other well, he considered her a friend.
“I was being interviewed before I knew what was going on,” he said.
Curtis spoke with The Times on Thursday morning. What follows has been edited for length and clarity.
That was an awfully good day for me. I remember enjoying writing that song. I just sat on my couch and took my guitar in hand and went for it.
How did you come to write “Love Is All Around”?
It was a deal that happened all in one day. I had a very good friend who worked for the Williams-Price Agency, and they managed Mary Tyler Moore. He called me one morning in the summer of 1970 and asked me if I would be interested in writing a song for Mary Tyler Moore. He said they’re going to do a sitcom on her and they all need a theme song.
At his lunch break, he dropped off a four-page treatment that one of the writers or somebody had put together. It wasn’t a script. It was a treatment that didn’t have a lot of information. Like, “A young girl from the Midwest gets jilted and left at the altar” or something like that. “She’s in the big city of Minneapolis and gets a job at a news station and rents an apartment she has a hard time affording,” that sort of thing.
I wrote the song in about two hours and called him back and said, “Who do I sing this to?” He sent me to James L. Brooks — he and Allan Burns were the executive producers — who was over there on Ventura Boulevard. I don’t know if you ever saw “Gunsmoke,” where they have all those big Quonset hut-looking buildings? That’s where their offices were.
It was just you and him?
Yes, James L. Brooks took me to a huge room and brought two iron-back chairs. We sat down and he said, “We’re not quite at the stage of picking a theme song, but I’ll listen to what you have.” The only other thing in the room — it wasn’t as big as a gymnasium, but it was a big room — was a black telephone on the floor.
I sang it about 10 times, and before I left that afternoon, he had that room full of people.
I got my guitar out and picked the song for him and he said, “Sing that again.” I sang it and he got on the phone and started having people come down. I sang it about 10 times, and before I left that afternoon, he had that room full of people. They were all lined up against the wall.
He ordered a cassette recorder and he said, “I want to take this to Minneapolis with me this weekend,” and I began to feel pretty confident at that time. Of course, you never feel real confident. People can change their minds.
Did you know of Moore’s work from “The Dick Van Dyke Show”?
Oh, I knew her work well. I had not met her at that point.
But it might be significant for you to know that the first season was different from the second season — the lyrics. The verse changed and the chorus stayed the same except for one line. The verse on the first show was, “How will you make it on your own?” After the first season, Allan Burns called me and said, “Sonny, we need a different set of lyrics, because she’s obviously made it.”
Moore was born in 1936 in Brooklyn Heights, but her family moved to Los Angeles when she was 8 years old. As a teenager, she aspired to be a dancer and appeared in several commercials at the beginning of her career.
Mary Tyler Moore arrives at the Emmy Awards in 2001.
(Lori Shepler / Los Angeles Times)Mary Tyler Moore appears on the set of “The Dick Van Dyke Show.”
(Paul Brownstein Productions)Mary Tyler Moore accepts her Screen Actors Guild Life Achievement Award during the 18th SAG Awards show at the Shrine Auditorium in Los Angeles in 2012.
(Robert Gauthier / Los Angeles Times)Mary Tyler Moore attends the 60th Primetime Emmy Awards in Los Angeles in 2008.
(Chris Pizzello / Associated Press)Academy Award-nominated film and Emmy Award-winning television actress Mary Tyler Moore poses during a 1979 photo portrait session in Los Angeles.
(George Rose / Getty Images)Dick Van Dyke, left, and Mary Tyler Moore, co-stars on “The Dick Van Dyke Show,” appear backstage at the Palladium with their Emmys for best actor and actress in a series at the Television Academy’s 16th annual awards show in 1964.
(Associated Press)Mary Tyler Moore appears with her then-husband, Grant Tinker, at the Emmy Awards in Los Angeles in 1966.
(David Smith / Associated Press)Actress Mary Tyler Moore and actor Michael Douglas attend a Juvenile Diabetes Research Foundation event in 1997. Moore had Type 1 diabetes.
(Getty Images)Posing in a 1972 publicity photo for “The Mary Tyler Moore Show” are, back row, from left, Valerie Harper as Rhoda Morgenstern, Ed Asner as Lou Grant and Cloris Leachman as Phyllis Lindstrom, and front row, from left, Gavin McLeod as Murray Slaughter, Mary Tyler Moore as Mary Richards, and Ted Knight as Ted Baxter.
(CBS Photo Archive)Mary Tyler Moore, center, and Dick Van Dyke, right, are colorized in the newly released “The Dick Van Dyke Show.”
(Calvada Productions)Moore auditioned to play
After the end of “The
Mary Tyler Moore and then-husband Grant Tinker appear at a Hollywood event in 1966.
(Michael Ochs Archives / Getty Images)Moore got her second sitcom, “The
In 1969, Moore founded her own production company, which produced “The
With “Ordinary People,” a wrenching domestic drama about the troubles of an upper-middle-class family after the death of their eldest son, Moore earned her first Academy Award nomination playing the grief-stricken mother opposite
After “The
Former President Clinton leans in to chat with Mary Tyler Moore, the Rev. Billy Graham and Lauren Bacall at the 75th anniversary gala for Time magazine at New York’s Radio City Music Hall on March 3, 1998.
(Sonia Moskowitz / Associated Press)Moore has written two memoirs about her life. In the first, published in 1995, she revealed that she was a recovering alcoholic. In the second, published in 2009, she talked about living with Type 1
Mary Tyler Moore accepts her Screen Actors Guild Life Achievement Award from Dick Van Dyke at the Shrine Auditorium in Los Angeles on Jan. 29, 2012.
(Robert Gauthier / Los Angeles Times)That’s interesting. Opening with “how will you make it?” adds doubt into the equation.
Yeah, it’s doubtful. And at the very end, when it says, “Love is all around, no need to waste it/ You can have the town, why don’t you take it,” on the first season it ends, ‘You might just make it after all.’ And for the second season we changed that to, ‘You’re gonna make it after all.’”
It’s much more hopeful.
Yeah, because she’s made it.
Did you watch the show?
I did watch the show, and after the show aired for the first time on Sept. 19, 1970, Allan Burns had a big party up at his house. Everybody was there, the whole cast and crew, and Louise — my wife — and I were invited, and that’s where I met Mary.
You not only wrote the song but also sang it for the show, right?
Yes. I sort of insisted on that. The executive producers weren’t really comfortable with that in the beginning. They did say at one time, “Well, we were kind of thinking of maybe getting Andy Williams to do it.”
Of course, Andy Williams had a big TV show, he was hotter than soap. I said, “If you can get Andy Williams, you got yourself a deal. But if it’s just going to be somebody off the street, I’d like for it to be me.” And they finally agreed.
Do you own the publishing rights to the song?
We don’t, actually. My friend who played drums for the Crickets, Jerry Allison, he and I published that, and about four years ago — we are kind of getting on up there, I’m 79 and he’s a year younger — he called and said, “Man this is getting out of control. Let’s sell this thing.” I said, “Man, Jerry, I can identify with that. We sold it to EMI in New York, and what’s kind of ironic is that I think they turned around and sold it about six months later .
Before you sold it, did you make money every time the show was broadcast?
Yes, it paid good performance royalties. All the stations that ran it, they had to pay a fee. Where we really made good money was through third-party usage. AT&T would pick it up and want to use it in an ad — we did very well with that. That song has been very good to me financially and otherwise. It’s been good for my career.
It must be an honor to have a piece of your work associated with something so culturally significant.
Absolutely. And that was at the beginning of the women’s liberation movement and Gloria Steinem and all those people were coming on pretty strong. I think they all identified with that show. It was sort of a cultural touchstone, and the song was a part of that.
The two songs for which you are most known are, thematically, polar opposites. One is about being young and free, but the other, “I Fought the Law,” is about being behind bars.
[Laughs] Yeah, well, when you’re writing songs the way that I do it, I just sit down with my guitar and see where my mind takes me. As I’ve told people a few times before when they say, “How did you write that?” I say, “You know, I think I dreamed it.” It’s hard for me to go back and say.
When I wrote “The Mary Tyler Moore Show” theme, I did have that little treatment to key into, and I must say that the fact that she had an apartment she couldn’t afford, was having a hard time getting by and making it, I really remember.
That was an awfully good day for me. I remember enjoying writing that song. I just sat on my couch and took my guitar in hand and went for it. It came to me pretty quickly. “How will you make it on your own? This world is awfully big. Girl, this time you’re all alone. “
That’s when she moved to Minneapolis, you know? “It’s time you started living and it’s time you let someone else do some giving. Love is all around,” you know?
For tips, records, snapshots and stories on Los Angeles music culture, follow Randall Roberts on Twitter and Instagram: @liledit. Email: randall.roberts@latimes.com.
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