(Seasons 2-7) Who can turn the world on with her smile? Who can take a nothing day, and suddenly make it all seem worthwhile? Well it's you girl, and you should know it With each glance and every little movement you show it Love is all around, no need to waste it You can have the town, why don't you take it You're gonna make it after all You're gonna make it after all! Full Version Continues: How will you make it on your own? This world is awfully big, girl this time you're all alone But it's time you started living It's time you let someone else do some giving Love is all around, no need to waste it You can have the town, why don't you take it You're gonna make it after all You're gonna make it after all Season 1 Version: How will you make it on your own? This world is awfully big, girl this time you're all alone But it's time you started living It's time you let someone else do some giving Love is all around, no need to waste it You can have the town, why don't you take it You might just make it after all You might just make it after all!

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Contents • • • • • • • • • • Scenes [ ] The original opening for the show begins with the name of its star across the screen in font, which then multiplies both upward and downward vertically in a number of colors, followed by a montage of Mary driving towards towards her new home, and walking in her new neighborhood. In the final shot, she gleefully tosses her 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 who had also done the opening sequence for. Badiyi came up with the idea for the final shot, which ranked as the second greatest moment in 1970s television. 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. 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'.

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.' The theme visuals were changed significantly after Season 1, and were usually 'tweaked' every season thereafter In later seasons, 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,, 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 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: • From 1973 to the end of the show's run in 1977, Mary is shown washing her car while wearing the #10 home jersey of ' quarterback. • Some of the scenes show Mary interacting with crew members and others involved in the show's production. In one, the camera zooms in on Mary eating at a restaurant overlooking the Crystal Court of the Minneapolis IDS building with an older man, Moore's then-husband,, who served as president of until 1981. Another scene shows Mary walking in the park, where she is passed by two joggers: co-creator and producer David Davis. • In later seasons, Mary is shown looking at a package of meat at a supermarket, then rolling her eyes as she throws it into her shopping cart. This is a reference to the 1973 meat shortage and resulting high consumer price of beef.

In 2009, CBS's, commenting on the high cost of small packages of food, showed this clip and said that it seems only she and Mary Richards buy them. Theme song [ ] 'Love Is All Around' by from the album Love Is All Around Released July 1980 Format Recorded 1980 Length 2: 44 Sonny Curtis The theme song, 'Love Is All Around', was written and performed by, but is often mistakenly attributed to; 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.' 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.' 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,.

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 in 1970, while the second was included on Curtis' album of the same name in 1980. The latter recording, which featured a arrangement, reached No.

29 on the chart. The song has been covered by artists such as,,, and -based, 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 in the episode 'In Praise of Women' during the birth of the Camden twins. A dance version was featured in the 1995 documentary. The 2000 TV movie started with a version of this song, with modern lyrics and a grunge sound. During the ending scene of the 2016 film, about a TV reporter/newscaster, the song is heard playing on the TV, and sung along to by one of the characters. Minneapolis locations [ ] Nicollet Mall [ ] Many of the outdoor scenes in the opening sequence were filmed along 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. The iconic hat toss was filmed at the intersection with 7th Street. On May 8, 2002, cable TV network dedicated an 8-foot (2.4 m) tall statue of Moore tossing her hat near that intersection. Many in the press were skeptical of TV Land's motive at first, some claiming it was a marketing strategy, and one professor stating that it was 'like honoring a unicorn.' 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. The department store in the background of some of those scenes (later a and a now closed ) 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 department store kittycorner to the site, was destroyed in 1982 by the.

IDS Center [ ] The 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 of the completion of the project in Architectural Forum. Another scene from the same building showed Mary dining with a man 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. The IDS Center is located across the street from, which was used for establishing shots of Mary's workplace. Highway [ ] Scenes showing Mary driving a white 1970 toward Minneapolis in the first-season sequence were supposedly filmed on (the, at the time a, can be seen in the background) and approaching downtown Minneapolis on the spur from northbound. Furthermore, an aerial shot that prominently features the features (now ) heading west away from the city near the exit to Lyndale Avenue., 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. Reception [ ] In 1997, the called the sequence one of the best in history. In 2010, ranked the sequence #3 on its list of TV's top 10 credits sequences, as selected by readers. In 2017, James Charisma of ranked the show's opening sequence #15 on a list of The 75 Best TV Title Sequences of All Time.

In popular culture [ ] The sequence has been referenced and parodied numerous times. Recreated the entire opening sequence of the show in Chicago, with herself in the role of Mary.

Parodies the opening credits in its opening sequence, with dancing through the streets of London to the theme song 'Life's a Big Banana Sandwich'. In the ' episode of (also produced by Mary Tyler Moore creator ), 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.

A 1984 episode of included a sketch that quoted the theme. Guest-host (who had played on Mary Tyler Moore) reprises the character as hiring mercenaries to 'rescue' Mary from 'syndicated reruns'. Two of the mercenaries, played by and, 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! Often, the hat toss is the main focus of the parody. During the closing credits of the spin-off, 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 ' 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, 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. Wins a piano competition in the episode ' 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, 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. In sixth season 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 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. 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. References [ ]. Entertainment Weekly. February 19, 1999. December 1, 1999.

Retrieved 2007-12-30. (27 January 2017).. Retrieved 12 August 2017. • Moore on Sunday The Mary Tyler Moore Show: The Complete Second Season (Disc Three Side B), [2005] • Wolfe, Sheila (April 1, 1973)..

Chicago Tribune. Retrieved 7 August 2016. • CBS Sunday Morning, Nov.

Retrieved 12 August 2017. Retrieved 12 August 2017. The New York Times. 26 December 2001.

• ^ Ellen Crean,, CBS News, The Early Show, May 9, 2002 • Marisa Helms (2001-03-30).. Minnesota Public Radio News & Features. Minnesota Public Radio. Archived from on 2004-06-30. Retrieved 2007-04-29. • Ernest Pascucci (1997).

'Intimate (Tele)visions'. Download Manga One Piece Chapter 1. In Deborah Berke; Steven Harris. Architecture of the everyday. Princeton Architectural Press.

• Nelson, Rick (30 August 2006).. July 14, 2004. Seattle Post-Intelligencer. June 21, 1997.

– via (subscription required) • Tomashoff, Craig. 'Credits Check' TV Guide, October 18, 2010, Pages 16-17 • Charisma, James (January 4, 2017)... Retrieved January 16, 2017. • The Simpsons television show, episode 8F07 •. Retrieved 12 August 2017.

• James, Caryn (September 19, 1996) Bill Evans Portrait In Jazz Rar Zip Converter. .. The New York Times.

Further reading [ ] • Victoria E. Johnson (2008). ' 'You're Gonna Make It After All! Heartland TV: prime time television and the struggle for U.S.