1970s

From 1971 to 72, a serial killer abducted and murdered six African-American girls in D.C.  But over 50 years later, the "Freeway Phantom" has never been caught.      

Despite serving only a single term as President, Jimmy Carter holds the record among sitting presidents for attending shows at the Kennedy Center — 28 in his four years in the District. But that's only the beginning of his love of the theater!

Funk band Parliament-Funkadelic has been in a long-term relationship with their African American fans from Washington, D.C. since the early 1970s. The message of Black freedom and empowerment inherent to funk music resonated with activists in the District who had fought for (and won) Home Rule, among other major political and social victories in recent years. In 1975, P-Funk released the album Chocolate City, an ode to the people of Washington, D.C.

In 1971, twelve women moved into a house on Capitol Hill, becoming the first serious lesbian collective in America. Contentious from the start and lasting only a year and a half, these Furies (as they called themselves) nonetheless incited a reckoning within the feminist movement, with thought and theory that is still being discussed today.

There's something below Dupont Circle, and it's not the Red Line! Tunnels were built for trolley cars in the 1940s, but they were abandoned shortly after. In the decades since, the tunnels have had quite a few interesting uses. What lays beneath the streets of one of the Districts' best known roundabouts?

For years, Turkey Tayac fought almost singlehandedly for the rights and recognition of his Native American group, the Piscataways. In the 1950s, he found some unlikely allies and successfully fended off an effort to build high rise apartments on sacred Piscataway lands in southern Maryland. A few years later, he helped convince the National Park Service to preserve the land for posterity. It was a remarkable achievement, and Turkey Tayac's work for inclusion would continue, even after his death.

Shock rippled through the steamy streets of Washington, DC, in early August 1979. The source of the buzz was not the result of back-to-back testing of nuclear weapons by the United States and the Soviet Union. It was not even the sale of the nearby Baltimore Orioles to D.C. lawyer Edward Bennett Williams for the grand sum of $12.3 million. The source of the city’s consternation involved the smooth timbre of a DMV staple – or the lack thereof. Felix Grant – one of Washington’s most beloved radio deejays for a generation – was being pulled from the airwaves.

The 1970s and 1980s saw increased Latin American immigration to the United States, and to D.C. in particular. At the time, there was limited access to Latin American performing arts, something that Rebecca Read and Hugo Medrano sought to fix when they founded Grupo de Latinoamericanos Artistes (GALA) in 1976. They never expected, though, that GALA would take off and eventually become the National Center for the Latino Performing Arts. Their journey to becoming cultural icons in D.C. also coincided with the changing Latin American community in the District.

On August 1, 1971, as attendees walked through the brightly-colored and slightly cramped booths, the smell of freshly-made food, the sound of voices young, old, and everything in-between filled the park, and the sense that everyone here belonged followed them. The festival wasn’t as large as the ones that would follow, for sure, but what it offered to guests was overwhelming: a feeling of camaraderie and community. The vendors and many of the attendees had different accents, different cultures, and different histories, but in Kalorama Park, they all shared the joy of showcasing their countries’ traditions. 

This was the Latino Festival of 1971, which would begin a long tradition of celebrating Latino culture in Washington, D.C.

As the deadline to ratify the Equal Rights Amendment lapsed in June 1982, the amendment's foes celebrated its demise while its proponents looked to the future to continue the struggle.