Plane crash devastates Marshall University football team

Year
1970
Month Day
November 14

On November 14, 1970, a chartered jet carrying most of the Marshall University football team clips a stand of trees and crashes into a hillside just two miles from the Tri-State Airport in Kenova, West Virginia, killing everyone onboard.The team was returning from that day’s game, a 17-14 loss to East Carolina University. Thirty-seven Marshall football players were aboard the plane, along with the team’s coach, its doctors, the university athletic director and 25 team boosters–some of Huntington, West Virginia’s most prominent citizens–who had traveled to North Carolina to cheer on the Thundering Herd. “The whole fabric,” a citizen of Huntington wrote later, “the whole heart of the town was aboard.”

The crash was just the most tragic in a string of unfortunate events that had befallen the Marshall football team since about 1960. The university stadium, which hadn’t been renovated since before World War II, was condemned in 1962. From the last game of the 1966 season to midway through the 1969 season, the team hadn’t won any games. Making matters worse, the NCAA had suspended Marshall for more than 100 recruiting violations. (The Mid-American Conference had expelled the team for the same reason.) But Marshall seemed to be getting back on track: It had fired the dishonest coaches, built a new Astroturf field and started winning games again. The Thundering Herd had lost a squeaker to East Carolina on the 14th, and was looking forward to a promising season the next year.

For Huntington, the plane crash was “like the Kennedy assassination,” one citizen remembers. “Everybody knows where they were and what they were doing when they heard the news.” The town immediately went into mourning. Shops and government offices closed; businesses on the town’s main street draped their windows in black bunting. The university held a memorial service in the stadium the next day and cancelled Monday’s classes. There were so many funerals that they had to be spread out over several weeks. In perhaps the saddest ceremony of all, six players whose remains couldn’t be identified were buried together in Spring Hill Cemetery, on a hill overlooking their university.

Marshall got a new football coach–Jack Lengyel, from the College of Wooster in Ohio–and set about rebuilding the team. The NCAA gave the Thundering Herd special permission to let freshmen play on the varsity squad, and Lengyel cobbled together a ragtag group of first-years, walk-ons and the nine veteran players who hadn’t been on the plane that night. The team lost its first game of the 1971 season but–with a last-second touchdown that seemed almost too good to be true–defeated Ohio’s Xavier University 15-13 in its first home game since the crash. The Herd won one other game that season, and nine in Lengyel’s four-year tenure at Marshall, but none was as emotional as the first.

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President Nixon signs legislation banning cigarette ads on TV and radio

Year
1970
Month Day
April 01

On April 1, 1970, President Richard Nixon signs legislation officially banning cigarette ads on television and radio. Nixon, who was an avid pipe smoker, indulging in as many as eight bowls a day, supported the legislation at the increasing insistence of public health advocates.

Alarming health studies emerged as early as 1939 that linked cigarette smoking to higher incidences of cancer and heart disease and, by the end of the 1950s, all states had laws prohibiting the sale of cigarettes to minors. In 1964, the Federal Trade Commission (FTC) and the Federal Communications Commission (FCC) agreed that advertisers had a responsibility to warn the public of the health hazards of cigarette smoking. In 1969, after the surgeon general of the United States released an official report linking cigarette smoking to low birth weight, Congress yielded to pressure from the public health sector and signed the Cigarette Smoking Act. This act required cigarette manufacturers to place warning labels on their products that stated “Cigarette Smoking May be Hazardous to Your Health.”

READ MORE: When Cigarette Companies Used Doctors to Push Smoking 

By the early 1970s, the fight between the tobacco lobby and public health interests forced Congress to draft legislation to regulate the tobacco industry and special committees were convened to hear arguments from both sides. Public health officials and consumers wanted stronger warning labels on tobacco products and their advertisements banned from television and radio, where they could easily reach impressionable children. (Tobacco companies were the single largest product advertisers on television in 1969.) Cigarette makers defended their industry with attempts to negate the growing evidence that nicotine was addictive and that cigarette smoking caused cancer. Though they continued to bombard unregulated print media with ads for cigarettes, tobacco companies lost the regulatory battle over television and radio. The last televised cigarette ad ran at 11:50 p.m. during The Johnny Carson Show on January 1, 1971.

Tobacco has played a part in the lives of presidents since the country’s inception. A hugely profitable crop in early America, Presidents Washington, Jefferson, Madison and Jackson owned tobacco plantations and used tobacco in the form of snuff or smoked cigars. Regulation of the tobacco industry in the form of excise taxes began during Washington’s presidency and continues to this day. In 1962, John F. Kennedy became the first president to sponsor studies on smoking and public health.

Tobacco has not been the only thing smoked at the White House. In 1978, after country-music entertainer Willie Nelson performed for President Carter there, he is said to have snuck up to the roof and surreptitiously smoked what he called a big fat Austin torpedo, commonly known as marijuana.

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President Nixon meets Elvis Presley


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Year
1970
Month Day
December 21

On December 21, 1970, rock star Elvis Presley is greeted at the White House by President Richard M. Nixon. Presley’s visit was not just a social call: He wanted to meet Nixon in order to offer his services in the government’s war on drugs.

Three weeks earlier, Presley, who wanted to distance himself from rock-and-roll’s unseemly association with drug use and the counterculture, had met Nixon’s vice president, Spiro Agnew, in Palm Springs, California and offered to use his celebrity status to help promote the administration’s anti-drug campaign. Presley then flew to Washington, checking into a hotel under an alias on December 20. The next day, he and two of his bodyguards proceeded to the White House gates, where Presley handed the guard a handwritten letter. In the letter, Presley told Nixon he did not associate or agree with the “Drug Culture, hippie elements,” student protesters and “Black Panthers,” whom he believed hated America. He declared that he wanted nothing but to “help the country out” and asked to be designated a “federal agent-at-large.”

The guard immediately recognized Presley, but followed protocol and asked for permission to send him on to the White House. He apparently was not searched before being granted admission: Upon meeting Nixon he presented the president with a gift–a World War II-era Colt .45 pistol. The two were photographed shaking hands, Nixon in a conservative suit and tie and Elvis wearing tight purple velvet pants and an open-collared shirt with jeweled chains, a purple velvet cape slung over his shoulders and an enormous belt buckle. Nixon and “The King” exchanged pleasantries and agreed that “those who use drugs are in the vanguard of American protest.” Presley again reiterated his desire to do whatever he could to help influence young people and fellow musicians to reject drugs and anti-Americanism. At the conclusion of the brief meeting, Presley surprised Nixon with a hug.

On December 31, Nixon wrote a thank-you note to Presley for the gift of the pistol and for visiting him at the White House. He said nothing about enlisting Presley’s aid in the war on drugs, however. The administration’s ambivalence about the idea was illustrated in his aides’ correspondence at the time. In an inter-office White House memo dashed off the morning of December 21, the day of Presley’s impromptu White House visit, Nixon’s aide Dwight Chapin suggested that Elvis not be “pushed off on the vice president,” but be introduced directly to Nixon. He further noted that if Nixon wanted to meet “bright young people outside the Government, Presley might be the one to start with.” Aide H.R. Haldeman responded: “you must be kidding.” In the end, Nixon never offered Elvis an official position in his administration’s war on drugs.

Presley died from heart failure in 1977, which the coroner’s report said was due to “undetermined causes.” Speculation abounded, however, that his death was caused by a lethal mix of a variety of prescription drugs and obesity.

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Motown soul singer Tammi Terrell dies


Year
1970
Month Day
March 16

Over a span of just 12 months beginning in April 1967, the duo of Marvin Gaye and Tammi Terrell enjoyed a string of four straight hits with some of the greatest love songs ever recorded at Motown Records. Sadly, only the first two of those four hits were released while Tammi Terrell was still well enough to perform them. In October 1967, just six months after the release of the now-classic “Ain’t No Mountain High Enough,” Terrell collapsed onstage during a live performance at Virginia’s Hampden-Sydney College. Two-and-a-half years later, on March 16, 1970, Tammi Terrell died of complications from the malignant brain tumor that caused her 1967 collapse.

Terrell’s illness was at first downplayed by the Motown Records publicity machine while new material by the duo of Gaye and Terrell was still being released. Many of the singles released under their names were created by laying Marvin Gaye’s vocals over existing recordings of Terrell made prior to her illness. Gaye scored one of his biggest solo hits ever during this period with “I Heard It Through the Grapevine,” but following Terrell’s death in 1970, he stopped performing live for the next three years.

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Diana Ross and the Supremes perform their final concert


Year
1970
Month Day
January 14

They were the most successful American pop group of the 1960s—a group whose 12 #1 hits in the first full decade of the rock and roll era places them behind only Elvis and the Beatles in terms of chart dominance. They helped define the very sound of the 60s, but like fellow icons the Beatles and Simon and Garfunkel, they came apart in the first year of the 70s. The curtain closed for good on Diana Ross and the Supremes on January 14, 1970, at the Frontier Hotel in Las Vegas, Nevada.

The farewell concert in Vegas was the final act in a drawn-out breakup that didn’t become official until November 1969, but probably became inevitable in July 1967, when Motown Records chief Berry Gordy gave Diana Ross top billing over the Supremes. That move clearly signaled Gordy’s intention to launch Diana on a solo career—something he may have had in mind from the moment he upgraded her first name from “Diane” and upstaged her fellow Supremes by making Diana the group’s official lead singer.

Mary Wilson, Florence Ballard and Diane Ross grew up together in Detroit’s Brewster housing project and started out as co-equals in a singing group they called “the Primettes.” It took them several years of toiling within the hit factory Berry Gordy was assembling before the girls made their breakthrough in 1964. Those years included a Gordy-inspired name change for the group; a Gordy-mandated buffing and polishing in Motown’s in-house finishing school; and, eventually, a Gordy-dictated elevation of Diana over her childhood friends, Flo and Mary.

Yet even into early 1964, the group that would become Motown’s greatest commercial success was known as the “No-Hit Supremes” around Hitsville, U.S.A., the company’s Detroit headquarters. It was “Where Did Our Love Go”—a song written by the soon-to-be-legendary team of Holland-Dozier-Holland and rejected by the soon-to-be-eclipsed Marvelettes—that kicked off a run of success that saw the Supremes score an incredible five straight #1 singles in a 10-month span from July 1964 to May 1965. Five more #1s would come before Motown forced Flo Ballard out of the group she created, and two more would come with Cindy Birdsong as Ballard’s replacement before Diana Ross left the Supremes behind

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Tim Rice and Andrew Lloyd Webber release “Jesus Christ Superstar” concept album

Year
1970
Month Day
October 27

From the late 1950s to the mid 1960s, it was common for original cast recordings of successful Broadway musicals to find their way up near the top of the pop album charts. Hit shows like West Side Story, The Sound of Music and Funny Girl, among several others, all spun off million-selling albums during this era, but by the late 1960s, the pop album charts had been decisively taken over by rock. It was in this environment that a young British composer and his lyricist partner managed to achieve a massive success by precisely reversing the old formula. On October 27, 1970, Andrew Lloyd Webber and Tim Rice, who would go on to become the most successful composer-lyricist team in modern theater history, released a double-LP “concept” album called Jesus Christ Superstar, which only later would become the smash-hit Broadway musical of the same name.

Jesus Christ Superstar was the third musical written by Lloyd Webber and Rice, following on The Likes of Us, which was staged for the first time in 2005, and Joseph and the Amazing Technicolor Dreamcoat, which saw only limited performances in various English churches between 1968 and 1970. Superstar grew out of Tim Rice’s longtime fascination with Judas Iscariot, whom he conceived not as a craven betrayer of Jesus, but rather as a dear friend struggling with the implications of Jesus’ growing celebrity. Although the musical would later find broad support among leaders of liberal Christian churches, it was nevertheless too controversial to gain the financial backing necessary for a stage production. Lloyd Webber and Rice therefore chose to package Superstar as an album first.

Working with a cast that included Murray Head—later of the pop hit “One Night In Bangkok” (1985)—in the role of Judas, and Yvonne Elliman—of the 1977 #1 hit “If I Can’t Have You”—as Mary Magdalene, Lloyd Webber and Rice recorded the Jesus Christ Superstar album in the summer of 1970 and released it in Britain and the United States the following fall.

Then as now, Lloyd Webber and Rice had their detractors in the critical establishment. Writing for The New York Times, critic Don Heckman questioned whether this new “rock opera” deserved praise either as rock or as an opera. “As rock, it leaves much to be desired,” he wrote. And in relation to 20th-century operas by the likes of Stravinsky and Gershwin, Heckman argued, “The comparison is pretty devastating.”

Nevertheless the Jesus Christ Superstar album spawned a Top 40 single in versions of “I Don’t Know How To Love Him” by both Yvonne Elliman and Helen Reddy, and it shot all the way to the top of the Billboard album charts in early 1971, paving the way for a smash Broadway opening later that year.

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“The Partridge Family” premieres on ABC

Year
1970
Month Day
September 25

Unwilling to rest as a one-hit wonder when its first big hit, The Monkees, went off the air in 1968, the television production company Screen Gems wasted no time in trying to repeat its success. On September 25, 1970, in the 8:30 p.m. time slot immediately following The Brady Bunch, ABC premiered a program that would give Screen Gems its second TV-to-pop-chart smash: The Partridge Family.

If the Beatles served as the inspiration for The Monkees, it was the real-life family act the Cowsills that inspired Screen Gems to dream up The Partridge Family, but the family demurred when it learned that actress Shirley Jones, and not Barbara Cowsill, would be playing the role of Shirley Partridge. Undaunted, Screen Gems hired four non-singing child actors for the roles of Laurie, Danny, Chris and Tracy Partridge and one future teen idol, David Cassidy, for the role of Keith.

In the pilot episode of The Partridge Family, the five children of a widowed single mother convince their mom to join them in their garage recording sessions and then watch their first record, “I Think I Love You” become a #1 pop hit. In a case not so much of life imitating art as of a brilliant marketing machine replicating its earlier success, the song “I Think I Love You” raced to the top of the real-life pop charts less than two months after its television debut.

However, hits like “I Think I Love You” and “I Woke Up in Love This Morning” were not actually recorded by a five siblings and their mom in a garage. The Partridge Family’s hits were recorded by some of the best professional musicians working in Los Angeles at the time, including drummer Hal Blaine and the other studio musicians known as the Wrecking Crew. The Partridge Family did, however, launch David Cassidy on a short-lived career as an actual pop singer, and it also, according to news reports, inspired some misguided runaways to show up on Shirley Jones’ Beverly Hills lawn in the hopes that she might adopt them into her television family.

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Paul McCartney announces the breakup of the Beatles

Year
1970
Month Day
April 10

The legendary rock band the Beatles spent the better part of three years breaking up in the late 1960s, and even longer than that hashing out who did what and why. And by the spring of 1970, there was little more than a tangled set of business relationships keeping the group together. Each of the Beatles was pursuing his musical interests outside of the band, and there were no plans in place to record together as a group. But as far as the public knew, this was just a temporary state of affairs. That all changed on April 10, 1970, when an ambiguous Paul McCartney “self-interview” was seized upon by the international media as an official announcement of a Beatles breakup.

The occasion for the statements Paul released to the press that day was the upcoming release of his debut solo album, McCartney:

Q: “Is this album a rest away from the Beatles or the start of a solo career?”

PAUL: “Time will tell. Being a solo album means it’s ‘the start of a solo career…and not being done with the Beatles means it’s just a rest. So it’s both.”

Q: “Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?”

PAUL: “Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don’t really know.”

Q: “Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?”

PAUL: “No.”

Nothing in Paul’s answers constituted a definitive statement about the Beatles’ future, but his remarks were nevertheless reported in the press under headlines like “McCartney Breaks Off With Beatles” and “The Beatles sing their swan song.” And whatever his intent at the time, Paul’s statements drove a further wedge between himself and his bandmates. In the May 14, 1970, issue of Rolling Stone, John Lennon lashed out at Paul in a way he’d never done publicly: “He can’t have his own way, so he’s causing chaos,” John said. “I put out four albums last year, and I didn’t say a f***ing word about quitting.”

By year’s end, Paul would file suit to dissolve the Beatles’ business partnership, a formal process that would eventually make official the unofficial breakup he announced on this day in 1970.

READ MORE: When Beatlemania Swept the United States

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Lou Reed plays his last show with the Velvet Underground

Year
1970
Month Day
August 23

The most famous and widely quoted observation about rock pioneers the Velvet Underground is generally credited to guitarist Brian Eno, who supposedly said that while only a handful of people bought their albums in their original release, every one of those people was inspired to go out and start his own rock band. To judge from the number of artists over the last four decades whose sound and songwriting reflect the Velvets’ influence, Eno was right on the mark. Arguably the most influential American band of the late 1960s and early 1970s, the Velvet Underground had an impact on modern rock and roll that was well out of proportion to the popularity they achieved in their short-lived heyday. That heyday, which included four studio albums still cited as major influences by bands whose members were not even alive at the time of their release, came to an end on August 23, 1970, when lead singer and primary songwriter Lou Reed played his last gig with the Velvet Underground at the famous Manhattan rock club Max’s Kansas City.

At the heart of the Velvet Underground’s classic lineup were Long Island native Reed and the Welsh-born John Cale, who met and began collaborating in New York City in 1964. Cale’s droning instrumentals and Lou Reed’s half-sung, half-spoken vocals on subject matter such as drug use and prostitution were, it is safe to say, well outside of the mainstream of mid-1960s commercial rock. When they were adopted as a pet project by pop artist Andy Warhol, however, the Velvets found themselves and their unorthodox sound being embraced by New York’s avant garde—an association that persisted even after Warhol and his enigmatic muse Nico, whom he installed as Reed’s co-vocalist for their debut album, The Velvet Underground & Nico (1967) exited the group’s professional lives.

It was that first album that yielded more of the Velvets’ biggest songs than any other, including “Heroin,” “All Tomorrow’s Parties” and “Venus in Furs.” The late 1960s saw numerous lineup changes in the band, including the departure of founding member Cale in 1968. It also saw the Velvet Underground release three more studio albums, each one of them a significant musical departure from the last. The final album featuring Lou Reed as leader was Live at Max’s Kansas City, which was released in 1972 but recorded on this day in 1970 immediately prior to Reed’s departure for a storied solo career of his own. Reed died in 2013. 

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Janis Joplin dies of a heroin overdose

In the summer of 1966, Janis Joplin was a drifter; four years later, she was a rock-and-roll legend. She’d gone from complete unknown to generational icon on the strength of a single, blistering performance at the Monterey International Pop Festival in the summer of 1967, and she’d followed that up with three years of touring and recording that cemented her status as, in the words of one critic, “second only to Bob Dylan in importance as a creator/recorder/embodiment of her generation’s history and mythology.”

Born in Port Arthur, Texas, in 1943, Janis Joplin made her way to San Francisco in 1966, where she fell in with a local group called Big Brother and the Holding Company. It was with this group that she would become famous, first through her legendary performance of “Ball And Chain” at Monterey and then with the 1968 album Cheap Thrills. She soon split off to launch a solo career, however, her personality and her voice being far too big to be contained within a group.

 ”I’d rather not sing than sing quiet,” she once said in comparing herself to one of her musical idols. “Billie Holliday was subtle and refined. I’m going to shove that power right into you, right through you and you can’t refuse it.” But if sheer abandon was Janis Joplin’s vocal trademark, she nevertheless always combined it with a musicality and authenticity that lent her music a great deal more soul than much of what the psychedelic era produced.

But it was never just music, or the passion she displayed in performing it, that made Janis Joplin an icon. It was the no-holds-barred gusto with which she lived every other aspect of her life as well. Far from being an empty cliché, “sex, drugs, and rock and roll” was a revolutionary philosophy to many in the late 1960s, and Janis Joplin was its leading female exponent. Her string of romantic conquests ranged from Kris Kristofferson to Dick Cavett. Her drug and alcohol consumption was prolific. And the rock and roll she produced was timeless, from “Piece Of My Heart,” “Get It While You Can” and “Mercedes Benz” to her biggest pop hit, “Me And My Bobby McGee.”

In the autumn of 1970, Janis Joplin was in Los Angeles putting the finishing touches on the album that would prove to be the biggest hit of her career, Pearl. She did not live to see the album’s release, however. On this day in 1970, she died of an accidental heroin overdose and was discovered in her Los Angeles hotel room after failing to show for a scheduled recording session. She was 27 years old.

Read more: Music Legends Who Lived Fast and Died at 27

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