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Background: iStock, L-R: Keystone Colour/Getty Images, Tony Duffy /Allsport, Hulton Archive/Getty Images
Background: iStock, L-R: Keystone Colour/Getty Images, Tony Duffy /Allsport, Hulton Archive/Getty Images

When Network Stars Went to Battle

Background: iStock, L-R: Keystone Colour/Getty Images, Tony Duffy /Allsport, Hulton Archive/Getty Images
Background: iStock, L-R: Keystone Colour/Getty Images, Tony Duffy /Allsport, Hulton Archive/Getty Images

The 1976 Olympic Games, held in Montreal over a two-week period in July, represented the absolute pinnacle of athletic competition. Caitlyn (then Bruce) Jenner proved to be the most impressive decathlete in the world; at 14, Romanian Nadia Comaneci earned a perfect 10 score on the uneven bars.

Just three months later, Jenner would be present—this time as an eyewitness—to a multi-discipline competition that was no less compelling, despite the fact that some of its participants were prone to smoking between events. That was the year ABC broadcast the inaugural edition of Battle of the Network Stars, a competition pitting small-screen talent from the three major networks against one another in relay races, kayaking, swimming, golf, and tug of war.

At any given time during the show’s semi-annual airings, viewers could expect to see Gabe Kaplan, Tony Danza, Farrah Fawcett-Majors, O.J. Simpson, Billy Crystal, Michael J. Fox, Ron Howard, Tom Selleck, Scott Baio, and other TV Guide cover subjects making very earnest attempts to outdo one another. While ABC’s motivation was clearly ratings, and viewers were compelled by both male and female stars sporting gym shorts, the participants were recruited based on a dual reward tier: Their egos would be challenged, and they could win a lot of money.

Battle’s origins can be traced back to the NBA—specifically, a lack of it. In the mid-1970s, ABC had lost the rights to broadcast National Basketball Association games to CBS, creating a hole in the network's Sunday afternoon programming schedule. An ABC executive named Dick Button proposed a show called Superstars, where well-known athletes would step outside of their comfort zones and try out a new sport.

ABC was elated when Superstars wound up outdrawing CBS’s NBA games in the ratings. The logical progression, according to former ABC executive Don Ohlmeyer, was to use the Superstars format and take advantage of the deep bench of attractive primetime stars appearing on television at the time. In an unlikely bit of collusion, ABC convinced both CBS and NBC to allow their contracted talent to appear on Battle of the Network Stars on the premise that it would amount to free advertising during a rival channel’s airtime.

The three network squads were a who’s-who of ‘70s fame. For ABC, team captain Gabe Kaplan (Welcome Back Kotter) led a charge that included Lynda Carter, Ron Howard, and Penny Marshall; NBC’s crew was comprised of captain Robert Conrad, Tim Matheson, Melissa Sue Anderson, and Ben Murphy; CBS appointed Telly Savalas to manage Lee Meriwether, Jimmie Walker, and Mackenzie Phillips.

Conrad would later recall that recruiting for the shows was easy, since “actors have tremendous egos” and took the competition seriously. An additional incentive was the fact that each member of the winning team would receive $20,000. (The amount would eventually go up to $40,000 as the series wound down in the 1980s.)

Despite the overall sheen of ironic detachment from commentator Howard Cosell, former Wild, Wild West star Conrad was fiercely competitive. Onetime contestant Melissa Gilbert recalled that Conrad once sent a kayak instructor and kayak to her house so she could practice for the event in her pool. During a relay race, when judges determined NBC had committed a foul, Conrad angrily demanded to face team captain Kaplan in a “run-off” to determine a winner. (Savalas, whose CBS team was destined for third place regardless, puffed on a cigarette and looked on with amusement.) Kaplan overcame an early deficit to surpass Conrad in a 100-meter foot race.

To Ohlmeyer, Conrad’s genuine outrage at the accusation of a foul helped set the tone for the specials, which didn’t appear to soften the events for the amateur competitors. Bikes were mounted without helmets or knee pads; Gilbert recalled seeing broken bones, sprained ankles, and contestants passing out from the heat; Falcon Crest star Lorenzo Lamas once took a spill off a cliff during a bike race, and landed in a ditch.

Several competitors had athletic backgrounds. Tony Danza was a former professional boxer; Mark Harmon was a quarterback at UCLA; Kurt Russell played minor league baseball. But an athletic background was no prerequisite: ABC was under no delusion about why many viewers were tuning in. Men like Lamas and Tom Selleck were of significant interest to audiences once they had disposed of their shirts, while the sight of a jogging Carter or Fawcett-Majors appealed to another demographic. “Giggly, jiggly starlets” is how Detroit Free Press columnist Mike Duffy described the action of the 1980 special, chiding producers for the shamelessness of dangling Dallas star Charlene Tilton over a dunk tank.

With a rotating cast, Battle taped most of its events at Pepperdine University in Malibu, California, airing twice a year through 1985. Devoted viewers would eventually be treated to the surreal spectacle of Tony Randall or William Shatner leading a sports team or David Letterman paddling shirtless in a kayak while Dick Van Dyke commentated the action. During one climactic tug of war, Conrad recalled that the teams spent over 14 minutes locked in a stalemate.

It seemed viewers would never tire of such high drama, but Battle's novelty eventually wore thin. The 1985 season was its last, with brief revivals attempted in 1988 and 2003. More recently, ABC announced a reboot scheduled for June 2017 that will feature many of the show's previous participants: Lorenzo Lamas, Erik Estrada, Jimmie Walker, and Mackenzie Phillips will all be there. It might be diverting and it might not, but the sight of a celebratory Lynda Carter kissing Gabe Kaplan while Telly Savalas moodily drags on his cigarette is a scene unlikely to ever be matched.

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The Truth Is In Here: Unlocking Mysteries of the Unknown
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In the pre-internet Stone Age of the 20th century, knowledge-seekers had only a few options when they had a burning question that needed to be answered. They could head to their local library, ask a smarter relative, or embrace the sales pitch of Time-Life Books, the book publishing arm of Time Inc. that marketed massive, multi-volume subscription series on a variety of topics. There were books on home repair, World War II, the Old West, and others—an analog Wikipedia that charged a monthly fee to keep the information flowing.

Most of these were successful, though none seemed to capture the public’s attention quite like the 1987 debut of Mysteries of the Unknown, a series of slim volumes that promised to explore and expose sensational topics like alien encounters, crop circles, psychics, and near-death experiences.

While the books themselves were well-researched and often stopped short of confirming the existence of probing extraterrestrials, what really cemented their moment in popular culture was a series of television commercials that looked and felt like Mulder and Scully could drop in at any moment.

Airing in the late 1980s, the spots drew on cryptic teases and moody visuals to sell consumers on the idea that they, too, could come to understand some of life's great mysteries, thanks to rigorous investigation into paranormal phenomena by Time-Life’s crack team of researchers. Often, one actor would express skepticism (“Aliens? Come on!”) while another would implore them to “Read the book!” Inside the volumes were scrupulously-detailed entries about everything from the Bermuda Triangle to Egyptian gods.

Inside a volume of 'Mysteries of the Unknown'
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Mysteries of the Unknown grew out of an earlier Time-Life series titled The Enchanted World that detailed some of the fanciful creatures of folklore: elves, fairies, and witches. Memorably pitched on TV by Vincent Price, The Enchanted World was a departure from the publisher’s more conventional volumes on faucet repair, and successful enough that the product team decided to pursue a follow-up.

At first, Mysteries of the Unknown seemed to be a non-starter. Then, according to a 2015 Atlas Obscura interview with former Time-Life product manager Tom Corry, a global meditation event dubbed the "Harmonic Convergence" took place in August 1987 in conjunction with an alleged Mayan prophecy of planetary alignment. The Convergence ignited huge interest in New Age concepts that couldn’t be easily explained by science. Calls flooded Time-Life’s phone operators, and Mysteries of the Unknown became one of the company’s biggest hits.

"The orders are at least double and the profits are twice that of the next most successful series,'' Corry told The New York Times in 1988.

Time-Life shipped 700,000 copies of the first volume in a planned 20-book series that eventually grew to 33 volumes. The ads segued from onscreen skeptics to directly challenging the viewer ("How would you explain this?") to confront alien abductions and premonitions.

Mysteries of the Unknown held on through 1991, at which point both sales and topics had been exhausted. Time-Life remained in the book business through 2003, when it was sold to Ripplewood Holdings and ZelnickMedia and began to focus exclusively on DVD and CD sales.

Thanks to cable and streaming programming, anyone interested in cryptic phenomena can now fire up Ancient Aliens. But for a generation of people who were intrigued by the late-night ads and methodically added the volumes to their bookshelves, Mysteries of the Unknown was the best way to try and explain the unexplainable.

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Sally Died of Dysentery: A History of The Oregon Trail
MECC
MECC

The eighth grade students sat and watched as Don Rawitsch dragged an enormous device into their classroom. It was December 3, 1971, and Rawitsch—a student teacher at Carleton College outside of Minneapolis who taught history at a local grade school—was ready to show off what his roommates, Paul Dillenberger and Bill Heinemann, had managed to create in only two weeks of programming and with limited, amateur coding skills: a game called The Oregon Trail.

There was no screen to focus on. The computer’s interface was a teletype machine, which spat out instructions and the consequences of a player’s actions on sheets of paper. Adopting the well-worn shoes of settlers migrating from Missouri to Oregon in 1848, the students debated how best to spend their money, when to stop and rest, and how to deal with the sudden and unexpected illnesses that plagued their game counterparts. Rawitsch even supplied them with a map of the journey so they could visualize the perils ahead.

The students loved it: The Oregon Trail would eventually morph from a part-time experiment in guided learning to a staple of classrooms across the country. Kids who had never before heard of diphtheria or cholera would bemoan such cruel fates; tens of thousands of people would (virtually) drown trying to cross rivers; more than 65 million copies would be sold.

But Rawitsch was oblivious to the cultural touchstone The Oregon Trail would become. He didn't foresee the simple game having much of a shelf life beyond the semester, so at the end of the year, he deleted it.

 
 

As low-tech as it was, the first version of The Oregon Trail was still miles ahead of anything Rawitsch could have imagined when he set about trying to engage his students. As a 21-year-old history major, Rawitsch was young enough to realize that his teenaged students needed something more provocative than dry textbooks. In the fall of 1971, he decided to create a board game based on the precarious movement of 19th-century travelers looking to head west to improve their living conditions.

On a large piece of butcher’s paper, he drew a map that provided a rough outline of the 2000-mile journey from Independence, Missouri to Willamette Valley, Oregon. Along the way, players would have to contend with a morbid series of obstacles: fire, inclement weather, lack of food, outdated sicknesses, and, frequently, death. Every decision played a part in whether or not they'd make it to the end without keeling over.

A screen shot from 'The Oregon Trail'
MECC

Rawitsch showed his idea for the board game to Dillenberger and Heinemann, two other seniors from Carleton, who both had experience coding using the BASIC computer language. They suggested Rawitsch’s game would be perfect for a text-based adventure using teletype. A player could, for example, type “BANG” in order to shoot oxen or deer, and the computer would identify how fast and how accurately the typist finished the command—the quicker they were, the better chance they had of securing dinner.

Rawitsch liked the idea, but he was due to start teaching westward expansion in just a couple weeks, so there was no time to waste. Heinemann and Dillenberger worked after-hours for two weeks to get The Oregon Trail ready. When it made its debut that December day in 1971, Rawitsch knew he had a hit—albeit a transient one. Like a teacher who had supervised a special crafts project for a specific classroom, Rawitsch didn’t see a need to retain The Oregon Trail for the future and promptly deleted it from the school’s mainframe system.

Dillenberger and Heinemann took permanent teaching jobs after graduation; Rawitsch found his number called up in the draft. He declared himself a conscientious objector and as part of that found work at the newly-formed Minnesota Educational Computing Consortium (MECC), a state-sponsored program that sought to modernize public schools with computing supplies. It was 1974, and Rawitsch believed he had the perfect software to go along with their initiative: The Oregon Trail. Even though he had deleted the game, Rawitsch had kept a printout of the code.

Typing it in line by line, Rawitsch had the game back up and running and available to students across Minnesota. This time, he consulted actual journal entries of settlers to see when and where danger might strike and programmed the game to intervene at the appropriate places along the path. If a real traveler had endured a 20 percent chance of running out of water, so would the player.

Rawitsch got permission from Dillenberger and Heinemann to repurpose the game for MECC. It’s unlikely any one of the three of them realized just how much of an institution the game would become, or how MECC's business partner, Apple—then an upstart computer corporation—would revolutionize the industry.

By 1978, MECC was partnering with the hardware company to sell Apple IIs and learning software to school districts around the country. Rather than being a regional hit, The Oregon Trail—now sporting primitive screen graphics—was becoming a national fixture in classrooms.

 
 

For much of the 1980s and 1990s, school computer classes across America devoted at least some portion of their allotted time to the game. The covered wagon and its misadventures offered something that vaguely resembled the hypnotic, pixely worlds waiting for students on their Nintendo consoles at home. In that respect, The Oregon Trail felt a little less like learning and a lot more like entertainment—although completing the journey in one piece was an unusual occurrence. More often, players would be defeated by malnutrition or drowning in attempts to cross a river. They'd also be confounded by the idea they could hunt and kill a 2000-pound animal but were able to take only a fraction of it back to their wagon. (Confronted with this during a Reddit Ask Me Anything in 2016, Rawitsch noted that "the concept represented there is supposed to be that the meal will spoil, not that it's too heavy," and suggested incorporating a "fridge with a 2000-mile extension cord.")

A screen shot from 'The Oregon Trail'
MECC

An updated version, Oregon Trail II, debuted on CD-ROM in 1995. MECC would change hands a few times, being acquired by venture capitalists and then by the Learning Company, and was even owned for a period of time by Mattel. Attempts to update it with flashy graphics felt contrary to the spirit of the game; like the settlers it depicted, The Oregon Trail seemed to belong to another era.

Today, both Dillenberger and Heinemann are retired; Rawitsch is a tech consultant. None of them received any profit participation for the software. Their joint effort was inducted into the World Video Game Hall of Fame in 2016 and was adapted into a card game that same year. Today, players of the popular role-playing game Minecraft can access a virtual Oregon Trail world; the original game is also playable in browsers. Technology may have advanced, but you can still die of dysentery as often as you like.

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