Theme Song and Other Music
"Nadia's Theme" has been the theme song of The Young and the Restless since the show's debut in 1973. The melody, originally titled "Cotton's Dream", was composed by Barry De Vorzon and Perry Botkin, Jr. for the 1971 theatrical film Bless the Beasts and Children. The melody was later renamed "Nadia's Theme" after the ABC television network's sports summary program Wide World of Sports lent the music for a montage of Romanian gymnast Nadia Comăneci's routines during the 1976 Summer Olympics; despite the title, Nadia never performed her floor exercises using this piece of music. Instead, she used a piano arrangement of a medley of the songs "Yes Sir, That's My Baby" and "Jump in the Line.”
Botkin wrote a rearranged version of the piece specifically for The Young and the Restless' debut. The song remained unchanged, save for a three-year stint in the early 2000s (decade), when an alternate, more jazzy arrangement of that tune was used, using portions of the longer closing version of the original theme.
In late September and early October 2012, the opening credits changed after many years and celebrating the shows 3000th episode .
Read more about this topic: The Young And The Restless
Famous quotes containing the words theme, song and/or music:
“It seems to me that upbringings have themes. The parents set the theme, either explicitly or implicitly, and the children pick it up, sometimes accurately and sometimes not so accurately.... The theme may be “Our family has a distinguished heritage that you must live up to” or “No matter what happens, we are fortunate to be together in this lovely corner of the earth” or “We have worked hard so that you can have the opportunities we didn’t have.””
—Calvin Trillin (20th century)
“There’s something wonderfully exciting about the quiet sing song of an aeroplane overhead with all the guns in creation lighting out at it, and searchlights feeling their way across the sky like antennae, and the earth shaking snort of the bombs and the whimper of shrapnel pieces when they come down to patter on the roof.”
—John Dos Passos (1896–1970)
“And in the next instant, immediately behind them, Victor saw his former wife.
At once he lowered his gaze, automatically tapping his cigarette to dislodge the ash that had not yet had time to form. From somewhere low down his heart rose like a fist to deliver an uppercut, drew back, struck again, then went into a fast disorderly throb, contradicting the music and drowning it.”
—Vladimir Nabokov (1899–1977)