Though without the nudity and slightly brain-melting morphing of characters of the animator’s best known short in 1982’s Malice in Wonderland, we appreciated being able to attribute the style to director Vince Collins (still actively creating) through this tribute to the United States’ then upcoming bicentenary (see previously)—commission by USIA—with a psychedelic review of its history through iconic symbols of Americana (caution flashing images). Maybe there will be a follow up for 2026.
Launching his bid for the party nomination for on this day in 1974—barred constitutionally from standing for the governorship of the state of Georgia for a second term—the fifty year old Carter began his campaign enunciating his intentions to counter the derision of opponents mocking his relatively unknown status with “Jimmy who?” A severe economic depression in the ensuing years prior to the 1976 election and Gerald Ford’s diminished public reception due to his pardoning of Nixon caused the Democrats to feel confident about returning to power. Ford’s debate gaffe that there was “no Soviet dominion in Eastern Europe and under Ford administration there never will be” did not help either—see also. Enlisting help from popular performers in the meantime, Carter raised his profile significantly and garnered a plurality of his party’s support in the primaries.
Headlines covering a statement delivered the evening before by US president Gerald Ford pledging to veto any federal aid for New York City to save it from bankruptcy, The Daily News, as we are informed by our faithful chronicler, lead with the front page story on this day in 1975 for its morning edition. Though Ford never said this line (the paper is known for its pithy and blunt copy), the sentiment was there and made a lasting impression among business and political leaders, demanding that the city make austere cuts to social programmes, raising transit fares and abolishing rent-controls in exchange for nationalising municipal debt. Two months later, Ford relented and gave New York loans, to be repaid with interest. Like Marie Antoinette (who never said “Let them eat cake”), Ford was haunted by this infamous misquotation (and unlike the Trump campaign that actually has said all the taunts, slurs and insults imaginable but will hopefully met the same indecorous fate) with career-ending consequences one year later, New Yorkers remembering, when the state pivoted narrowly to elect Jimmy Carter.
Courtesy of our faithful chronicler, we are reminded that on this day in 1976, NBC aired the made-for-television drama by Randal Kleiser (directing credits include Grease, Big Top Pee-wee) starring Eve Plumb, playing the principal fifteen-year-old who leaves home for Hollywood, following an embarrassing incident with her alcoholic mother during a school dance. Naรฏve and with no prospects, protagonist Dawn turns to prostitution under the tutelage of a cohort of fellow sex-workers and their pimp and protector, Swan. Though not part of the original series run (this was quite a disabusing Mandela Effect moment for me and always remembered the understudy the same way as Darren on Bewitched or Becky on Roseanne), Plumb’s commitment to shooting the special did not allow her to appear on the continuation of the franchise, The Brady Bunch Hour, and caused the producers to enlist another actor, Geri Reischl, to play “Fake Jan,” a label Reischl (later cast as the original Blair in The Facts of Life pilot but forced to relinquish the role due to obligations to breakfast cereal company General Mills) embraces as her personal brand.
As our faithful chronicler reminds, George Harrison was found guilty of unintentional plagiarism on this day in 1976 for his 1970 hit single My Sweet Lord (previously) of The Chiffon’s, Ronnie Mack 1963 song He’s So Fine recorded with an ensemble from Ringo Starr, Eric Clapton and Bad Finger, becoming the top release in the US and UK of any ex-Beatles artist. Produced by Phil Spector, whom had underwritten the hits of many girl groups from the 1950s through the seventies, there was a failure to note this inspiration—which Harrison subsequently attributed to the out-of-copyright gospel hymn “Oh Happy Day” during sessions for the triple album, All Things Must Pass. Despite the judgment in favour of infringement and later cases to define homage and sampling, the tune of universal religiosity and discovery endures.
First debuted on this day in 1974 for a concert by the Grateful Dead (previously) at the venue of the California State Livestock Pavilion (the Cow Palace, an indoor arena on the outskirts of San Francisco), the monumental acoustic reinforcement system, consisting of some six hundred speakers and drawing twenty-six thousand watts of power, fulfilling lead designer Owsley “Bear” Stanley’s search for a self-correcting way to amplify the experience to an audience of a hundred-thousand projecting over a significant field of attendance without distortion (the audio crew could monitor what the crowd heard). Although the technical achievement was itself retired by October due to logistics involved in moving and reassembling the array, the advancement in fidelity led to an improved experience for all, made more practical and efficient once the Grateful Dead resumed touring in 1976.
Reaching the top of the UK singles charts on this day in 1976, the Four Seasons’ song by Bob Gaudio and Judy Parker, showcasing the band’s drummer Gerry Polci and vocalist Frankie Valli, the lyrics were originally set three decades prior in 1933 to 5 December, marking the end of Prohibition in the US. The group however revolted against the juxtaposition of such a good disco, doo-wop groove with an obscure historical reference, and it was decided that it should be shifted forward to capture the spirit of Americana as a jukebox favourite circa the early 1960s.
Coincidentally sharing some of the same lyrics (Mamma mia, let me go!), on this day in 1976 ABBA unseated Queen’s “Bohemian Rhapsody” from its nine-week run at the top of the UK singles charts with the opening track on their eponymous third studio album. Resistant to the idea of promoting the song for fear of over-exposure (and due to the composition being shopped around before it was offered to the group), it was first trialled in the Australian market but the overwhelming positive reception prompted ABBA to release it as a single in Britain, soon becoming an international hit. The B-side of the UK version had the instrumental track “Intermezzo № 1” with variants including “Hey, Hey Helen” and “Tropical Love Land.”
ray fay: the mostly-unreleased 1976 comedic spoof Queen Kong with traditional gender roles reversed
from-to: reputational-based urban maps that can help you find the analogue East Village of London and other neighbourhoods in different cities
tv mirror: leafing through the February 1977 includes an interview with Henry Winkler and more on the Dino De Laurentiis remake that condemned the above treatment of the colossus to obscurity
isdn: a look at the once future-proof telecommunication standard quickly vanishing
oppidum du mont beauvray: the successive rediscoveries of the ancient capital of the Gallic Aedui tribe, Bibracte
synchronoptica
one year ago: St Mungo plus assorted links to revisit
The 1976 musical documentary by Susan Wilson that juxtaposed Beatles covers with newsreel combat footage and propaganda vignettes that was roundly rejected by critics and audiences was released on this day in 1976 and pulled from cinemas after less than two weeks of screenings. Shrewdly realising that money was to be made from the soundtrack with new renditions by popular artists, the accompanying film score debuted three weeks earlier and generated far more revenue than the movie, remanded mostly to obscurity outside of a few airings that attracted a cult-like fascination with several charting singles like Rod Stewart’s “Get Back,” Elton John’s “Lucy in the Sky with Diamonds,” the Bee Gees’ “Carry That Weight,” Helen Reddy doing a version of “Fool on the Hill,” Tina Turner on “Come Together” and introducing Peter Gabriel with “Strawberry Fields Forever.” It was rumoured that Monty Python cartoonist Terry Gilliam was approached to contributed animated interstitials but that was apparently untrue. As singular as this enterprise seems, All This and World War II was inspired by a documentary by Philippe Mora from the previous year called Brother, Can You Spare a Dime? made up of newsreel footage and interspersed with clips from contemporary films and songs as a scrapbook of the Depression Era through the Attack on Pearl Harbour, with musical selections from Cab Calloway, Bing Crosby, Billie Holiday, Woody Guthrie, Busby Berkley and the Andrews Sisters. More from Open Culture at the link above.
Aptly alluding to the myth of a scorned guest and chaos agent, Eris, the goddess of Discord—who was not invited to the marriage ceremony of Greek hero Peleus and sea nymph Thetis and tossed a golden apple into the wedding party to be awarded to the fairest, a bone of contention that sparked the Trojan War, an international jury of wine experts convened in the French capital on this day in 1976 to carry out a blind-tasting—ultimately rating varieties of Napa Valley wines as superior to the historically more esteemed French vineyards. The results of course sparked controversy—top honours going to a 1973 chardonnay from Chรขteau Montelena and a cabernet Sauvignon from Stag’s Leap Wine Cellars whereas the opposite outcome was rather a foregone conclusion, and marked a pivotal moment in the California industry (see previously) with a follow up match in 2006 on the event’s thirtieth anniversary that re-certified the standings.
Released on this day in 1976, David Bowie’s tenth studio album was the major vehicle for the above stage persona and enjoys a legacy, building on the commercial success of his previous record Young Americans to allow more creative liberties in the direction he took this next transitional collection of songs, reflecting an interest in the occult and Aleister Crowley and Nietzsche’s รbermensch, as a departure but still among his most significant works—with exploration of new styles fully articulated in his Berlin Trilogy of the following year. Recorded in Los Angeles after completing shooting for The Man Who Fell to Earth, Bowie adapted the arc of narrative in the album from a partly autobiographical collection of short stories called The Return of the Thin White Duke he had written while off camera.
Released by the label Asylum on this day in 1976, the Eagles’ fifth studio album would go on over the years to become one of the highest ranked records of all time, certified twenty-six times Platinum in the US alone and selling over thirty-two million copies worldwide and within the year alone winning several Grammy awards and bested only by Fleetwood Mac’s Rumours, the title track as well as “New Kid in Town” and “Life in the Fast Lane” receiving many accolades. The concept album features a throughline of songs, lyrics chiefly written by Don Henley with contributions from Glenn Frey, that explore ideals realised and thwarted and the loss of that sense of naivetรฉ that things balance out in the end. Despite remarkable commercial success, the band’s best selling album remains Their Greatest Hits (1971 – 1975).
Featuring the talents of Michael York, Jenny Agutter, Farrah Fawcett and Peter Ustinov, the dystopian sci-fi film set in a future where population and resource consumption is managed by rapturing (the Carrousel) people at the age of thirty, the cinematic adaption of the 1967 novel by George Clayton Johnson and William F Nolan had its debut in theatres on this day in 1976. Escaping the subterranean mega city, fugitives Logan 5 (whose job it was formerly to enforce this maximum age mandate but turned Runner himself) and Jessica 6 find themselves in an ice cave and encounter Box, a robot designed to capture fleeing individuals and freeze them for food. Expertly voiced by Shakespearian actor and director Roscoe Lee Brown, this commanding role influenced George Lucas to cast James Earl Jones the following year as the voice of Darth Vader. Below is an extended version of that performance, shortened in the release.
Originally airing on the British ITV network before being picked up in syndication for American audiences, Jim Henson’s Muppet Show was first broadcast on this day in 1976—the characters and premise previewed with two pilots the previous two years, the first subtitled the Valentine Show with guest star Mia Farrow and Sex and Violence with an all Muppet cast.
The first episode featured Joel Grey, the Master of Ceremonies from Cabaret, with the guest act being “Wilkommen” and father of Jennifer of Dirty Dancing fame. Musical numbers, guest interviews are interspersed with Fozzie Bear’s comedy routines, Gonzo’s random act of destruction and Muppet News flashes. The Swedish Chef’s cooking segments appeared in episode two. Coincidentally on the same date five years earlier, the BBC was offered Sesame Street but rejected to add it to their programming schedule, framing the show as “indoctrination and a dangerous extension of the use of television” and having “authoritarian aims.” Independent broadcasters eventually brought the educational programme to the UK.
With precedent disputes just after WWII and reignited after a fashion with Brexit fishing negotiations, the Cod Wars began in earnest on this day in 1958 when Iceland expanded its territorial waters to the edge of maritime claims by the UK and West Germany, with all sides sustaining losses over the next two decades as this protracted conflict continued with boats ramming into one other and the fishing nets of trawlers cut. Although in the aftermath of each skirmish, the International Court of Justice sided with Iceland’s claim, no resolution was reached until 1976 when Iceland threatened to withdraw from NATO if the matter wasn’t settled once and for all, an action that would denied the alliance’s submarines access to a strategic part of the North Sea (see also) at the height of the Cold War, brokering an agreement amenable to all parties. Following on from the truce, the United Nations codified the Law of the Sea and standardised exclusive nautical economic zones.
Beginning a three-week streak at the top of the US charts on this in 1965, the ballad by Sonny Bono written for and performed with his then-wife Cher (previously) was inspired by Bob Dylan’s folk rock hit for the Turtles “It Ain’t Me Babe” with Bono expressing the opposite sentiment. In 1993, Cher recorded a cover-version with the animated characters Beavis and Butt-Head as a single from their comedy album The Beavis and Butt-Head Experience. That song also rated highly on international music rankings. In 2016, Cher performed a parody of it called “I Got you Bae” with commentary on relationships in the era of social media. Personally, we thought the best version—other than the performance on their variety hour in 1976—was Dorothy and Sophia as the duo on The Golden Girls.
Via Card House, our attention is directed to a record format called Sopic Cap Player and their portable party-in-a-box from 1976, impeccably sleek and modern looking for that vintage, that prefigured karaoke (a clipped compound meaning “empty orchestra,” ใซใฉใช) machines. The playlist includes “Champs Elysee” and “Waterloo Road” from Jason Crest with quite a few other cosmopolitan classics, demos and comparable technology linked in the comments section on this video shared by Techmoan’s Youtube channel.
Charting both in the UK and the US, the Starland Vocal Band’s only hit “Afternoon Delight” began its run on this day in 1976, one of the biggest songs of the year. The group which began as a wife and husband duo—Taffy Nivert and Bill Danoff—wrote together with John Denver “Take Me Home, Country Roads” in 1971, eventually expanding into a full musical ensemble with keyboards and guitars and additional singers, and hosted an eponymous variety show on CBS—with David Letterman as a regularly featured writer—the following summer.
Though without the nudity and slightly brain-melting morphing of characters of the animator’s best known short in 1982’s Malice in Wonderland, we appreciated being able to attribute the style to director Vince Collins (still actively creating) through this tribute to the United States’ then upcoming bicentenary (see previously)—commission by USIA—with a psychedelic review of its history through iconic symbols of Americana (caution flashing images). Maybe there will be a follow up for 2026.
