“Unity, Precision, Thrust”: The NASA Graphics Standards Manual, 1975

n the mid-1970s, the National Aeronautics and Space Administration was in a period of transition. The final manned Apollo mission to the Moon, Apollo 17, had returned to Earth in December 1972; no further Moon landings were planned. NASA had recently kicked off their Skylab experiments in short-term orbital space station living (and détente-inspired collaboration with the Soviets), as well as announcing a reusable fleet of Space Shuttles…

“Spacy Spheres and Funky Shacks”: The Otherworlds of 1971’s ‘Domebook 2’

In the spring of 1971, it seemed everyone on the fringes of mainstream society in North America was trying to build geodesic domes: soaring gridwork domes made of plastic and steel, of wood, of concrete. Inspired by technocratic engineer-turned-counterculture guru and geodesic dome evangelist R. Buckminster Fuller, hundreds of back-to-the-land hippies sought to use his elementary architectural example…

“Makes the Perfect Christmas Gift!”: The Television Ads of Ronco

Presenting its array of multi-purpose household gadgets in a breathless, urgent style to fit into a half-minute or full-minute commercial slot, Ronco set the standard for the late-night direct mail sales pitch on television…

American Monoliths: Local Pride and Global Anxiety in ‘The Georgia Guidestones’

On the vernal equinox in 1980, a group of local dignitaries gathered on a ridgetop near Elberton, Georgia, to witness the dedication and unveiling of a monument made of six colossal slabs of Georgia blue granite. The Georgia Guidestones have remained the center of a firestorm of controversy in the nearly four decades since their unveiling…

“Fantastic Stories”: Family and Cultural Memory in Martin Scorsese’s ‘Italianamerican’

By Michael Grasso

After Martin Scorsese burst onto the scene with the one-two social realist punch of 1973’s Mean Streets and 1974’s Alice Doesn’t Live Here Anymore, he produced an ode to the milieu from which he sprang, a briefer-than-feature-length trip to his parents’ walk-up apartment in Little Italy for Sunday macaroni and gravy…

Tubular Terrors: ‘The Night Stalker’

By Michael Grasso

Like many folks my age, I first encountered crusading news photographer Carl Kolchak (played by the imminently charismatic and recognizable Darren McGavin) thanks to The X-Files creator Chris Carter’s repeated praise of the character as one of the biggest influences on his creation of Mulder and Scully…

“You’re Not Gonna Like This”: The Manson Family Conspiracy in Tom O’Neill’s ‘Chaos’

By Michael Grasso

O’Neill’s account of his two decades in a wilderness of conspiracies related to the Manson Family ultimately suggests some of the blame falls at the feet of a Cold War American intelligence/law enforcement/academic complex deeply compromised by its commitment to beating the Soviets at all costs…

Wicked Good TV: Memories of Local Boston Broadcasting in the ’80s

By Michael Grasso

I’ve written quite a bit about my broadcast-television-haunted childhood here at We Are the Mutants over the years; some might even call it a bit of an obsession, honestly. But this week we’ve been challenged to put together some of our memories of specifically local TV, and that’s something that I not only feel nostalgic about, but also tend to get a little political about…

“A Most Congenial Group”: Miller Lite TV Ads, 1974 – 1991

The development of “light” beer came with a commensurate marketing challenge: how to persuade the traditionally masculine beer-drinking audience to try a lower-calorie version of their favorite brew. In essence, the lab wizards had to accede to the ad wizards…

Lost in the Time Vortex: The American Cult of ‘Doctor Who’

By Michael Grasso

Sitting here in 2019, I can confidently tell you where I was at 7pm on most weeknights between the years 1981 and 1986. I was sat in front of our living room TV, watching the adventures of the Doctor on my local PBS station…