Trivia: Born in Indiana, Chad Everett attended high school in Dearborn, Michigan, where he played quarterback on the school football team. During his junior year at Wayne State University, Everett landed an acting role with a Michigan repertory company, accompanying the troupe on a State Department-sponsored tour of India. He headed to Hollywood in 1960, got nowhere fast, relocated to New York, did some modelling and TV commercials, then was signed to a $250-per week contract with Warner Bros. He made his film debut in Warners' Claudelle Inglish (1961), and co-starred in the studio's 1963 TV western series The Dakotas. Everett then signed with MGM, where he was featured in such films as Made in Paris (1964) and The Singing Nun (1965). In 1969, MGM's TV division cast Everett in his signature role as Dr. Joe Gannon in Medical Center, a popular weekly which ran until 1976. After Medical Center, Everett continued appearing in theatrical and made-for-TV movies, and also starred in three weekly series: Hagen (1980, as Paul Hagen), The Rousters (1983, as Wyatt Earp III) and McKenna (1994, as Jack McKenna). Chad Everett also wrote, directed and performed in several TV commercials and industrial films, and was the author of a self-published book of romantic poetry, written for and dedicated to his wife, actress Shelby Grant. He died of lung cancer in July 2012.

Trivia: The son of a Canadian railroad executive, Glenn Ford first toddled on-stage at age four in a community production of Tom Thumb's Wedding. In 1924, Ford's family moved to California, where he was active in high-school theatricals. He landed his first professional theater job as a stage manager in 1934, and, within a year, he was acting in the West Coast company of Lillian Hellman's The Children's Hour. Although he made his film debut in 20th Century Fox's Heaven With a Barbed Wire Fence (1939), Ford was signed by Columbia, which remained his home base for the next 14 years. After an apprenticeship in such B-movies as Blondie Plays Cupid (1940), Ford was promoted to Columbia's A-list. Outwardly a most ordinary and unprepossessing personality, Ford possessed that intangible "something" that connected with audiences. The first phase of his stardom was interrupted by World War II service in the Marines (he retained his officer's commission long after the war, enabling him to make goodwill visits to Korea and Vietnam). Upon his return, Ford had some difficulty jump-starting his career, but, in 1946, he was back on top as Rita Hayworth's co-star in Gilda. While he insisted that he "never played anyone but [himself] onscreen," Ford's range was quite extensive. He was equally effective as a tormented film noir hero (The Big Heat [1953], Human Desire [1954]) as he was in light comedy (Teahouse of the August Moon [1956], The Gazebo[1959]). Nearly half of his films were Westerns, many of which -- The Desperadoes (1943), The Fastest Gun Alive (1956), 3:10 to Yuma (1957), Cowboy (1958) -- were among the best and most successful examples of that highly specialized genre. He was also quite effective at conveying courage under pressure: While it was clear that his characters in such films as The Blackboard Jungle (1955) and Ransom (1956) were terrified by the circumstances surrounding them, it was also obvious that they weren't about to let that terror get the better of them. In 1958, Ford was voted the number one male box-office attraction. Through sagacious career choices, the actor was able to extend his popularity long after the studio system that "created" him had collapsed. In 1971, he joined such film stars as Shirley MacLaine, Anthony Quinn, and Jimmy Stewart in the weekly television grind. While his series Cade's County ended after a single season, in the long run it was more successful than the vintage-like programs of MacLaine, Quinn, et al., and enjoyed a healthy life in syndication. Ford went on to star in another series, The Family Holvak (1975), and hosted a weekly documentary, When Havoc Struck (1978). He also headlined such miniseries as Once an Eagle (1976) and Evening in Byzantium (1978), and delivered a particularly strong performance as an Irish-American patriarch in the made-for-TV feature The Gift (1979). He continued showing up in choice movie supporting roles into the early '90s; one of the best of these was as Clark Kent's foster father in Superman: The Movie (1978).Although illness sharply curtailed his performing activities after that, Ford was still seemingly on call during the 1980s and '90s whenever a cable TV documentary on Hollywood's Golden Era required an eyewitness interview subject. In 1970, Ford published an autobiography, Glenn Ford, RFD Beverly Hills. His first wife was actress Eleanor Powell; He was also married to Kathryn Hays and Cynthia Hayward. His last film appearance was a cameo in 1993's Tombstone; after a series of strokes later that decade, he died in 2006 at the age of 90.

Trivia: Born in Kulm, North Dakota and educated at Glendale College and Immaculate Heart College, Angeline Brown acquired her professional name Angie Dickinson when she married college football star Gene Dickinson. A beauty contest winner, Dickinson entered films with an unbilled bit in the 1954 Warner Bros. musical Lucky Me. Her earliest films consisted mostly of "B" Westerns (at one point, she dubbed in actress Sarita Montiel's voice in 1957's Run of the Arrow) and television (Dickinson was rather nastily murdered in very first episode of Mike Hammer). She moved to the A-list when selected by Howard Hawks to play the female lead in Rio Bravo (1958). The film gave Dickinson ample opportunity to display her celebrated legs, which, for publicity purposes, were reportedly insured by Lloyd's of London. She went on to star in films both famous and forgettable: one of the roles for which she is best remembered is as the mistress of gangster Ronald Reagan (!) in The Killers (1964). In 1974, Dickinson jump-started her flagging career as the star of the TV cop drama Police Woman, which lasted four seasons and represented a tremendous step up in popularity for Dickinson. On that program, the actress played Suzanne "Pepper" Anderson, an undercover agent with the LAPD's criminal conspiracy division, whose assignments nearly always included donning a crafty and sexy guise in order to nab an underworld criminal.At about the same time, Dickinson also moved into motion pictures and (after years of consciously avoiding nude scenes), went au naturel for exploitation king Roger Corman in that producer's depression-era romp Big Bad Mama, which unsurprisingly became a cult favorite. (Years later, in 1987, she teamed up with Z-grade shlockmeister Jim Wynorski for New World's Big Bad Mama II). Brian DePalma's Psycho-influenced thriller Dressed to Kill (1980) brought the actress greater visibility, and like the Corman assignments, required Angie to do erotic nudity (though in this case, the below-the-waist shower shots were reportedly performed by a body double).In later years, Dickinson leaned more heavily on starring and supporting turns in made-for-television productions, including a telemovie follow-up to Police Woman, Police Woman: The Freeway Killings (1987); the Oliver Stone miniseries Wild Palms (1993); the direct-to-video thriller The Maddening (1995) (opposite longtime friend and colleague Burt Reynolds); and the prime-time soaper Danielle Steele's Rememberance (1996). The next decade found the septuagenarian actress unexpectedly returning to A-list Hollywood features, albeit in small supporting roles; these included Duets (2000), Pay it Forward (2000) and Ocean's Eleven (2001) (in a cameo as herself, nodding to her involvement in the original).Angie Dickinson was married to composer Burt Bacharach from 1965 to 1980.

Trivia: A rugged, craggy-faced, bushy-browed lead actor and character player, he began his stage career in 1937, which was interrupted by service in World War Two. He debuted onscreen in Winged Victory (1944), but did not begin regularly appearing in films until 1949; he was usually cast as grim, determined, humorless men in action features. From 1950-60 he was married to actress Bette Davis, with whom he appeared in three films. His many TV credits include a role in the series Young Dr. Kildare. He was politically active in liberal causes, and played a part in rejuvenating Maine's Democratic party; he also helped elect Edmund Muskie to governor of that state in 1953. In 1965 he took part in the Selma-Montgomery civil rights march. At odds with President Johnson's Vietnam policy, he switched parties and in 1968 tried unsuccessfully to win a Republican nomination to the Maine legislature as an anti-war, pro-environmentalist primary candidate. He authored an autobiography, Bette, Rita and the Rest of My Life (1989); "Rita" refers to actress Rita Hayworth, with whom he'd had a romantic affair.

Trivia: A graduate of Santa Monica Junior College, Jack Elam spent the immediate post-World War II years as an accountant, numbering several important Hollywood stars among his clients. Already blind in one eye from a childhood fight, Elam was in danger of losing the sight in his other eye as a result of his demanding profession. Several of his show business friends suggested that Elam give acting a try; Elam would be a natural as a villain. A natural he was, and throughout the 1950s Elam cemented his reputation as one of the meanest-looking and most reliable "heavies" in the movies. Few of his screen roles gave him the opportunity to display his natural wit and sense of comic timing, but inklings of these skills were evident in his first regular TV series assignments: The Dakotas and Temple Houston, both 1963. In 1967, Elam was given his first all-out comedy role in Support Your Local Sheriff, after which he found his villainous assignments dwindling and his comic jobs increasing. Elam starred as the patriarch of an itinerant Southwestern family in the 1974 TV series The Texas Wheelers (his sons were played by Gary Busey and Mark Hamill), and in 1979 he played a benign Frankenstein-monster type in the weekly horror spoof Struck By Lightning. Later TV series in the Elam manifest included Detective in the House (1985) and Easy Street (1987). Of course Elam would also crack up audiences in the 1980s with his roles in Cannonball Run and Cannonball Run II. Though well established as a comic actor, Elam would never completely abandon the western genre that had sustained him in the 1950s and 1960s; in 1993, a proud Elam was inducted into the Cowboy Hall of Fame. Two short years later the longitme star would essay his final screen role in the made for television western Bonanza: Under Attack.

Trivia: British lead actress, onscreen from the '50s.

Trivia: Cadaverous, hollow-eyed Royal Dano made his theatrical entree as a minor player in the Broadway musical hit Finian's Rainbow. Born in New York City in 1922, he manifested a wanderlust that made him leave home at age 12 to travel around the country, and even after he returned home -- and eventually graduated from New York University -- he often journeyed far from the city on his own. He made his acting debut while in the United States Army during World War II, as part of a Special Services unit, and came to Broadway in the immediate postwar era. In films from 1950, he received his first important part, the Tattered Soldier, in John Huston's 1951 adaptation of Stephen Crane's The Red Badge of Courage. Thereafter, he was often seen as a Western villain, though seldom of the cliched get-outta-town variety; in Nicholas Ray's Johnny Guitar (1954), for example, he fleshed out an ordinary bad-guy type by playing the character as a compulsive reader with a tubercular cough. He likewise did a lot with a little when cast as Mildred Natwick's deep-brooding offspring in Hitchcock's The Trouble With Harry. With his deep, resonant speaking voice and intense eyes, Dano could make a recitation of the telephone book sound impressive and significant, and some of his non-baddie characters include the prophet Elijah, who predicts the destruction of the Pequod and the death of Ahab, in Huston's Moby Dick (1956), Peter in The King of Kings (1961) and Mayor Cermak in Capone (1975); in addition, he played Abraham Lincoln in a multipart installment of the mid-'50s TV anthology Omnibus written by James Agee. On the small screen, the producers of The Rifleman got a huge amount of mileage out of his talent in five episodes in as many seasons, most notably in "Day of Reckoning" as a gunman-turned-preacher. He also appeared in memorable guest roles in the high-rent western series The Virginian, The Big Valley, and Bonanza, and had what was probably his best television role of all as the tragically insensitive father in the two-part Little House On The Prairie episode "Sylvia." Toward the end of his life, Royal Dano had no qualms about accepting questionable projects like 1990's Spaced Invaders, but here as elsewhere, he was always given a chance to shine; one of Dano's best and most bizarre latter-day roles was in Teachers (1982), as the home-room supervisor who dies of a heart attack in his first scene -- and remains in his chair, unnoticed and unmolested, until the fadeout.

Trivia: Kevin Hagen is a veteran character actor long associated with intense dramatic roles. He has portrayed everything from hitmen and rapists to prosecutors and police officers, but is perhaps best known to television audiences for his portrayal of the avuncular Dr. Baker on the long-running series Little House on the Prairie. Hagen was born and raised in and around Chicago, but moved to Portland, OR, during his teens. Following a two-year hitch in the United States Navy, he attended college on the G.I. Bill, majoring in international relations, and later worked for the U.S. State Department in Germany. Bored with that job, he considered a career in law but dropped out after one year. While trying to figure out what he wanted to do for a career, he auditioned for a production of the play Blind Alley and won a small role, despite the fact that he had never acted before. Within a year, Hagen had moved up to playing the lead in a production of James Thurber's play The Male Animal, and spent the next few years scraping out a living in small theatrical productions around Los Angeles in between studying with Agnes Moorehead, among other notables. His breakthrough came with his portrayal of stern patriarch Ephraim Cabot in a production of Eugene O'Neill's Desire Under the Elms -- that led to his getting an agent and, in turn, led to his television debut in an episode of Dragnet. He appeared in various dramatic anthology shows and played important guest-star parts on programs such as Gunsmoke, Rawhide, Cheyenne, M-Squad, and The Untouchables -- in one episode of the latter, "Stranglehold," Hagen brought a startling degree of humanity and depth to the part of a professional killer. Hagen made his feature-film debut in 1958 in the Disney-produced The Light in the Forest, and that same year, he got his first regular role in a series when he was cast in the part of John Colton, the city administrator of post-Civil War New Orleans, in Yancy Derringer. The show only ran for one season, but Hagen had more work than ever following the conclusion of filming, on such series as Bonanza, Perry Mason, The Man From U.N.C.L.E., The Felony Squad, and Mission: Impossible. He also did some film work, most notably in Andrew V. McLaglen's Civil War drama Shenandoah (1965), in which Hagen played the scavenging deserter who murders James Stewart's son (Patrick Wayne) and rapes and murders Stewart's daughter-in-law (Katharine Ross). During this period, he also began a string of appearances in television series produced by Irwin Allen, guest starring in episodes of Lost in Space, Voyage to the Bottom of the Sea, and Time Tunnel. Those roles led to Hagen's being cast as Inspector Kobick, the security officer pursuing the diminutive earthlings, in Allen's Land of the Giants. He brought a great deal of humanity and complexity to his portrayal of the character in the course of the series' two-season run. During the 1970s, Hagen made frequent guest appearances on series such as M*A*S*H, Quincy, and Knot's Landing. In 1974, Hagen was cast in the role for which he has become best known, as Dr. Baker in Little House on the Prairie. He portrayed the part for ten seasons and developed a serious fandom among the series' legions of viewers. Hagen left Hollywood for Oregon in the early '80s, and has continued his work in regional theater productions of such plays as West Side Story, Follies, and Oklahoma! He also performs his own one-man show, a mixture of songs, monologues, and prairie wit and wisdom drawn from his Little House persona.

Trivia: The older sister of actress Lillian Randolph, Amanda Randolph worked her way up the black vaudeville circuit as a singer and comedienne. She made her first screen appearance in the Vitaphone two-reeler The Black Network (1935) as the supposedly untalented wife of a radio sponsor; ironically, she sounded better than the film's official leading lady Nina Mae McKinney. After appearing in a handful of all-black feature films she established herself as a character actress on network radio. In the 1950s she was generally cast as maidservants in films, with the notable exception of her performance as Sidney Poitier's mother in 1950's No Way Out. On television, Amanda Randolph was seen to excellent advantage as the Kingfish's domineering mother-in-law on The Amos 'N' Andy Show (1951-1953) and as Louise the maid on Make Room for Daddy (1954-1964).

Trivia: In recalling his courtroom scene in To Kill a Mockingbird, Gregory Peck recalled the vital contribution of African American actor Bill Walker, who was cast as the Reverend Sikes. "All the black people in the balcony stood," Peck noted. "My two kids didn't. When Bill said to them 'Stand up, children, your father is passing,' he wrapped up the Academy Award for me." The son of a freed slave, Walker began his stage career at a time when black actors were largely confined to shuffling, eye-rolling "Yowzah boss" bit parts. While the harsh economic realities of show business dictated that Walker would occasionally have to take less than prestigious roles as butlers, cooks, valets, and African tribal chieftains, he lobbied long and hard to assure that other actors of his race would be permitted to portray characters with more than a modicum of dignity. He also was a tireless worker in the field of Civil Rights, frequently laying both his career and his life on the line. Walker's Broadway credits included Harlem, The Solid South and Golden Dawn; his film credits were legion. Bill Walker was married to actress Peggy Cartwright, who as a child was one of the stars of the Our Gang silent comedies.

Trivia: Character actor Len Lesser worked steadily in film and television since his film debut in Shackout on 101 (1955). Lean, dark, and bushy-browed, he was typically cast as a crook or hitman. Fans of the television sitcom Seinfeld will recognize Lesser as Uncle Leo.

Trivia: American actor Vaughn Taylor was trained as a certified public accountant at Northeastern University. While performing in college theatricals, Taylor entertained notions of a stage career; he won a scholarship at the Leland Powers School of Theatre, but his resources were so low that he had to sell his blood to blood banks to pay his expenses. Steady stock, tent-show, and radio work convinced Taylor that he'd made the right career move, and upon completing his Army duties in 1945, the actor took on the new challenge of live television. Taylor played so many TV roles that it is fruitless to try to list them, though the first "couch potato generation" might have affectionate memories of the actor as sharp-witted janitor Ernest P. Duckweather on the 1953 satirical puppet show Johnny Jupiter. (Taylor was replaced by Wright King when the series went from live to film). Taylor was also a prominent "summer repertory" actor on the prestigious anthology Robert Montgomery Presents from 1952 through 1954. The movies utilized Taylor's talents, often in roles as duplicitous executives or crooked business partners: he was the two-timing showman beheaded by magician Vincent Price in The Mad Magician (1954). Anyone who follows the reruns of The Twilight Zone will be more than familiar with the skill and range of Vaughn Taylor: he played bookworm Burgess Meredith's hardhearted boss in "Time Enough at Last," a crazed old conjurer in "Still Valley," an unctuous robot salesman in "I Sing the Body Electric" and a kindly wheelchair-bound gent who sells his kindness and becomes a killer in "The Self-Improvement of Salvatore Ross."