1970s

“I personally want to try and change the stereotype of what somebody in a wheelchair is like… I want to be judged not on my disabilities but on my abilities. I think people get frightened by the wheelchair… It’s a powerful visual symbol, but it’s not a symbol of defeat. It’s a tool I use to help me accomplish my goals. Just by climbing into the wheelchair, I don’t have to surrender my sexuality, my sensuality, my good sense of humor, or anything," said Kit Kamien, a Bethesda musician who was diagnosed with multiple sclerosis at the age of 26, to The Washington Post in 1987.

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: “Un Pueblo Sin Murales Es Un Pueblo Desmuralizado,” which translates to the tongue-in-cheek tautology “A People Without Murals are a Demuralized People.” 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.

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.