1970s

Three figures with wolfish grins gather around a table, red as blood. What’s on the table? Money and houses. It’s a game of Monopoly, but the people aren’t people and the game is strictly metaphorical. This image occupies the upper right quadrant of a mural located at 1817 Adams Mill Road NW in Adams Morgan. The name of the mural is “Un Pueblo Sin Murales Es Un Pueblo Desmuralizado,” which literally translates to “A People Without Murals is a Demuralized People.” But the name in Spanish is a play on words: "A People Without Murals is a Demoralized People," emphasizing the value of public art — and artistic representation — to the community. Now over forty years old, this mural is the largest, oldest and longest-standing Latinx mural in D.C.

In July of 1978, thousands of Native American demonstrators arrived in the capital to protest eleven pieces of legislation, and raise awareness about issues faced by Indigenous peoples. This was the end of a 3,000 mile journey known as the Longest Walk.

In the 1970s, the Congressional Cemetery was in trouble. After years of neglect, it looked abandoned: broken headstones littered the ground, family vaults caved in, and the grass was waist high. Fifty years later, the cemetery has undergone a stunning transformation. As well as being an active burial ground, it serves as a community garden, urban wildlife sanctuary, place of remembrance, and historic site. Volunteers, many from the local Capitol Hill neighborhoods, work tirelessly to keep up the grounds and reverse the damage of decades past. Because, as it turns out, the Congressional Cemetery has always been a people’s effort. Despite its official-sounding name, and despite its importance to national history, its story is much more local.

Most Americans are familiar with the phrase, of course. It brings to mind images of the Revolutionary War—colonists protesting a series of taxes imposed on them by the British Parliament, despite their lack of involvement in its affairs. According to tradition, the battle cry of “taxation without representation is tyranny” originated in Boston, where it featured in such famous displays as the Boston Tea Party.  In the popular imagination, the phrase defined the conflict that lead to the creation of our own, more just government. So how did the phrase come to be associated with Washington, D.C., the center of that government?

The soundtrack of the summer of 1976 was a special one. Just after the USA celebrated its Bicentennial, one unlikely song, with its folksy style and airtight harmonization, soared past the countless disco tunes to the number 1 spot on the Billboard charts. No matter how you feel about it, “Afternoon Delight” was perhaps the perfect way to celebrate our independence. With lyrics referencing “skyrockets in flight,” the song (and the band behind it) has a very strong connection to the Nation’s Capital.  

It all started in 1974, when musicians Bill Danoff and Margot Chapman stopped at Clyde’s in Georgetown for a meal...  

Gary Oelze purchased a Shirlington restaurant called the Birchmere in the mid 1960s. At the time, he wasn't planning to get into the music business. But soon, the Birchmere became a hub for bluegrass music in the nation's capital. Today, it is an internationally renowned music hall that draws fans of every musical genre. 

April 17, 1970 was a big day for the United States—President Richard Nixon even described it as the “proudest day of [his] life and in the life of the country.” That afternoon, the ill-fated Apollo 13 crew splashed down in the Pacific Ocean and made it to safety. The nation breathed a collective sigh of relief.

But the day wasn’t over yet. That evening, President Nixon would sit in the East Room of the White House for another cultural milestone: a legendary performance by country music star Johnny Cash.

In the summer of 1970, Bill Danoff and Taffy Nivert were driving down Clopper Road to a family reunion in Gaithersburg, Maryland. Montgomery County was a much more rural place in those days, and the scenery inspired Danoff to repetitively sing “country roads, country roads, country roads.” 

Under normal circumstances, this burst of creativity might have gone nowhere, but the couple happened to be a duo of professional musicians. So, with the help of John Denver, they soon turned the phrase into the earworm we know today. 

When I.M. Pei, the celebrated Chinese-American architect from New York, was selected to design a new addition for D.C.’s National Gallery of Art, the Washington Post’s architecture critic remarked it was “no doubt one of the toughest [assignments] since Michelangelo was asked to put a dome on St. Peter’s.” Pei knew it would be a difficult task to build the new gallery, but that did not deter him. This is the story of how one of Washington's most unique buildings came to be.   

It was Christmas night 1974 in Lorton Reformatory’s Maximum Security wing. Correctional Officer Lt. O.W. Larsen was keeping watch over the mess hall where around 100 inmates were finishing dinner and sitting down for a showing of “The Hong Kong Connection,” a Kung Fu movie. Suddenly Larsen felt the muzzle of a handgun pressed into his neck. Earl Coleman, serving 5 to 15 years for robbery and nicknamed “Killer,” had his finger on the trigger. As Coleman overpowered Larsen, other inmates did the same to the other guards in the hall. Within moments they had control of the room.