#Phineas and ferb theme song suicide tv#
Said Gary:Ĭheers was the first TV theme I ever co-wrote. We wondered if writing a TV theme would be difficult because so many previously-written theme songs would be dancing in your head, making it impossible to write something original, so we asked Gary how he handles this. They chose intimate over polished, and the voice you hear is Gary's. The producers thought about having someone famous sing it, but when they heard Gary's demo, it captured the feel of Cheers - a bunch of regular guys in a home away from home. Gary came up with the idea when he got in the mindset of a late-night bar patron, and in the process created one of the great TV theme songs, and a piano bar mainstay. The song is called "Where Everybody Knows Your Name" and it was written by Gary Portnoy and Judy Hart Angelo, who got the attention of the Cheers producers for their work scoring a musical called Preppies.
#Phineas and ferb theme song suicide movie#
Leonardo DiCaprio went rogue in his 2010 Rolling Stone interview and delivered this brilliant non-sequitur in a piece designed to promote his movie Inception: "What is the Ninth Symphony of '80s sitcom theme songs? There's 'Movin' On Up,' and there's 'Welcome Back.' But they don't have the weight that Cheers does, the emotional depth, the undercurrent of sadness, life, happiness, all rolled into one area where a man can have a beer." " Welcome Back" from Welcome Back, Kotter - John Sebastian's song about returning to where you came from caught on and became a #1 hit.
Gimbel and Fox also wrote the theme to the Happy Days spin-off Laverne & Shirley, called "Making Our Dreams Come True." They wrote the song as "Hoping Our Dreams Will Come True," but changed it when the producers told them that these independent women don't "Hope," they go out and make things happen.
Quincy Jones, who also studied with Nadia Boulanger, wrote the theme song to Sanford and Son, which is called "The Streetbeater."And did we mention the closing theme? In what would be seen as a trivial waste of show content these days, each episode ended with a reprise of the theme song while credits displayed over still shots of the jukebox. It was so good that the theme was made into a full-length song, charting at #5 in the US and even cracking the UK Top 40. And the other thing is you want to make it so that you can have elements from the theme that you can score within the body of the show, and then hopefully someday it could go on and be a hit record, also, and sound fresh all the time.Think back to Happy Days: When you hear the theme and get the thumbs up from Fonzie, it feels so good, it can't be wrong. So if someone's in the other room doing something and hears the theme, they say, "Oh, I know that show, I like that show," and they come running in. You always want to capture what you think is the essence of the show and you want to make something that's bright and interesting and attractive. In season 3, "Happy Days" took over as the open.Ĭharles Fox, who wrote the music for at least 100 classic and not-so-classic ( The Joe Namath Hour) TV shows, studied in Paris with Nadia Boulanger, who also taught composition to Leonard Bernstein, Aaron Copland and Philip Glass. Happy Days ran from 1974-1984, but for the first two seasons, the era-appropriate " Rock Around The Clock" was the opening theme, while "Happy Days," which Charles Fox wrote with lyricist Norman Gimbel, played as the closing theme. Should we spend some time with Richie and The Fonz, or flip over to the Tony Orlando & Dawn Rainbow Hour? The song could make all the difference, and doing it right was an art form. Back when we had to leave the couch to change the channel, the opening sequence of a show was its audition for the next 30 minutes of our attention.
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