Trivia: American actor Robert Conrad was a graduate of Northwestern University, spending his first few years out of school supporting himself and his family by driving a milk truck and singing in a Chicago cabaret. Conrad befriended up-and-coming actor Nick Adams during this period, and it was Adams who helped Conrad get his first Hollywood work in 1957. A few movie bit parts later, Conrad was signed for a comparative pittance by Warner Bros. studios, and in 1959 was cast as detective Tom Lopaka on the weekly adventure series Hawaiian Eye. Upon the 1963 cancellation of this series, Conrad made a handful of Spanish and American films and toured with a nightclub act in Australia and Mexico City. Cast as frontier secret agent James West in The Wild Wild West in 1965, Conrad brought home $5000 a week during the series' first season and enjoyed increasing remunerations as West remained on the air until 1969. There are those who insist that Wild Wild West would have been colorless without the co-starring presence of Ross Martin, an opinion with which Conrad has always agreed. The actor's bid to star in a 1970 series based on the venerable Nick Carter pulp stories got no further than a pilot episode, while the Jack Webb-produced 1971 Robert Conrad series The D.A. was cancelled after 13 episodes. When Roy Scheider pulled out of the 1972 adventure weekly Assignment: Vienna, Conrad stepped in--and was out, along with the rest of Assignment: Vienna, by June of 1973. Conrad had better luck with 1976's Baa Baa Black Sheep, aka Black Sheep Squadron, a popular series based on the World War II exploits of Major "Pappy" Boyington. Cast as a nurse on this series was Conrad's daughter Nancy, setting a precedent for nepotism that the actor practiced as late as his tenth TV series, 1989's Jesse Hawkes, wherein Conrad co-starred with his sons Christian and Shane. Though few of his series have survived past season one, Conrad has enjoyed success as a commercial spokesman and in the role of G. Gordon Liddy (whom the actor admired) in the 1982 TV movie Will, G. Gordon Liddy. As can be gathered from the Liddy assignment, Conrad's politics veered towards conservatism; in 1981, he and Charlton Heston were instrumental in toppling Ed Asner and his liberal contingent from power in the Screen Actors Guild. As virile and athletic as ever in the 1990s, Robert Conrad has continued to appear in action roles both on TV and in films; he has also maintained strong ties with his hometown of Chicago, and can be counted upon to show up at a moment's notice as a guest on the various all-night programs of Chicago radio personality Eddie Schwartz.

Trivia: Born in Grodek, Poland, the erudite actor received an M.A. in psychometrics and a law degree before he turned to performing as half of a comedy team known as Ross & West. On film, he was notable and frightening in Experiment in Terror (1962). Following an undistinguished but busy TV career in the '50s, Martin became one of television's most brilliant chararacter actors. As a regular on the charades-like game shows The Ad-Libbers (1951), Pantomime Quiz (1950-1963), and Stump the Stars (1962-63), he had the chance to show off his lightning mind and acting facility. After playing a supporting role on The Sheriff of Cochise (1956-1960), he costarred as Andamo on Mr. Lucky (1959-60). Martin finally found his niche as TV's "man of a thousand faces" -- Secret Service agent Artemus Gordon -- on the humorous cult spy spoof/western/science fiction series The Wild, Wild West (1965-1969) with Robert Conrad as James West. The show gave him an opportunity to display his acting virtuosity, as he used multiple disguises and accents in almost every episode. Sidelined by a major heart attack near the end of the series and replaced by look-alike Charles Aidman, Martin did mostly guest shots and cartoon voiceovers thereafter. His directing credits include Here's Lucy (1968-74).

Trivia: While attending San Diego's St. Augustine High School, Victor Buono appeared in three plays a year - including the title role in Hamlet! After planning to attend medical school, Buono was rechannelled into an acting career, spending the summer of his 18th year at the municipal Globe Theatre in San Diego, then studying drama at Villanova University. He made his first network TV appearance at age 21, playing bearded poet "Bongo Benny" in an episode of 77 Sunset Strip; this led to 45 TV guest spots over the next three years, during which Buono would later claim he always played "Standard Bad Man 49-B. Buonogenerally played characters much older than himself, his expressive facial features and excess weight helping him pull off the deception. Robert Aldrich cast Buono as the third-rate songwriter who leeches off of faded child star Bette Davis in Whatever Happened to Baby Jane (1962). Davis' was opposed to the casting, insisting that Buono was "grotesque," but after filming finished the actress went up to Buono and apologized for her earlier attitude; even more gratifying to Buono was his Oscar nomination for Baby Jane. Buono's greatest period of TV activity were the years between 1964 and 1970, when he was much in demand to play villains of various nationalities and ethnic origins on the many secret-agent programs of the period. As bad as Buono's bad guys were, he always played them with a rogueish twinkle in the eye just to let the audience know it was all in fun. His best remembered roles during the late 1960s were Count Manzeppi on the adventure series Wild Wild West, and King Tut on the weekly campfest Batman. Also during this period Buono began going the talk-show route, regaling audiences with his self-deprecating poetry, most of it centered on his avoirdupois ("I think that I shall never see / My feet"). These appearances led to nightclub and lecture dates, a popular comedy record album, and a slim volume of poems, It Could Be Verse. In the 1970s and 1980s, Buono's screen characters began to veer away from outright villainy; now he was most often seen as pompous intellectuals or shifty con men. That he could also play straight, and with compassion, was proven by Buono's appearance as President Taft in the TV miniseries Backstairs at the White House, wherein he delivered a poignant tribute to the late Mrs. Taft. Victor Buono was 43 when he died suddenly at his ranch home in Apple Valley, California.

Trivia: African-American comedian Richard Pryor grew up bombarded by mixed messages. Pryor's grandmother owned a string of brothels, his mother prostituted herself, and his father was a pimp. Still, they raised Richard to be honest, polite, and religious. Living in one of the worst slums in Peoria, IL, Pryor found that he could best defend himself by getting gang members to laugh at instead of pummeling him. This led to his reputation as a disruptive class clown, although at least one understanding teacher allowed Pryor one minute per week to "cut up" so long as he behaved himself the rest of the time. At age 14, he became involved in amateur dramatics at Peoria's Carver Community Center, which polished his stage presence. In 1963, Pryor headed to New York to seek work as a standup comic; after small gigs in the black nightclub circuit, he was advised to pattern himself after Bill Cosby -- that is, to be what white audiences perceived as "nonthreatening." For the next five years, the young comic flourished in clubs and on TV variety shows, making his film bow in The Busy Body (1967). But the suppression of Pryor's black pride and anger by the white power structure frustrated him. One night, sometime between 1969 and 1971, he "lost it" while performing a gig in Las Vegas; he either walked off-stage without a word or he obscenely proclaimed that he was sick of it. Over the next few years, Pryor found himself banned from many nightclubs, allegedly due to offending the mob-connected powers-that-be, and lost many of his so-called friends who'd been sponging off of him. Broke, Pryor went underground in Berkeley, CA, in the early '70s; when he re-emerged, he was a road-company Cosby no more. His act, replete with colorful epithets, painfully accurate character studies of street types, and hilarious (and, to some, frightening) hostility over black-white inequities, struck just the right note with audiences of the committed '70s. Record company executives, concerned that Pryor's humor would appeal only to blacks, were amazed at how well his first post-Berkeley album, That Nigger's Crazy!, sold with young white consumers. As for Hollywood, Pryor made a key early appearance in the Diana Ross vehicle Lady Sings the Blues. But ultra-reactionary Tinseltown wasn't quite attuned to Pryor's liberal use of obscenities or his racial posturing. Pryor had been commissioned to write and star in a Mel Brooks-directed Western-comedy about a black sheriff, but Brooks replaced Pryor with the less-threatening Cleavon Little; Pryor nonetheless retained a credit as one of five writers on the picture, alongside such luminaries as Andrew Bergman. When Pryor appeared onscreen in The Bingo Long Traveling All-Stars and Motor Kings and Silver Streak (both 1976), it was as a supporting actor. But Pryor's popularity built momentum, and by the end of the '70s he became the highest-paid starring comedian in films, with long-range contracts ensuring him work well into the next decade - when such efforts as Stir Crazy, Bustin' Loose, and The Toy helped to both clean up the foul-mouthed comic's somewhat raunchy public image, and endear him to a whole new generation of fans. His comedy albums -- and later, videocassettes -- sold out as quickly as they were recorded. The only entertainment arena still too timid for Pryor was network television -- his 1977 NBC variety series has become legendary for the staggering amount of network interference and censorship imposed upon it.By the early '80s, Pryor was on top of the entertainment world. Then came a near-fatal catastrophe when he accidentally set himself afire while freebasing cocaine. Upon recovery, he joked liberally (and self-deprecatively) about his brush with death, but, otherwise, he appeared to change; his comedy became more introspective, more rambling, more tiresome, and occasionally (as in the 1983 standup effort Richard Pryor: Here and Now) drew vicious heckling and catcalls from obnoxious audiences. His cinematic decline began with a thinly-disguised film autobiography, Jo Jo Dancer, Your Life Is Calling (1986), which Pryor starred in and directed; it met with critical scorn. Pryor's films declined in popularity, the audiences grew more hostile at the concerts, and Pryor deteriorated physically. Doctors diagnosed him with multiple sclerosis in the late '80s, and, by 1990, it became painfully obvious to everyone that he was a very sick man, although his industry friends and supporters made great effort to celebrate his accomplishments and buoy his spirits. The twin 1989 releases Harlem Nights and See No Evil, Hear No Evil (the latter of which re-teamed Pryor with fellow Silver Streak alums Arthur Hiller and Gene Wilder) failed to reignite Pryor's popularity or draw back his fanbase.Pryor's ill-fated attempt to resuscitate his stand-up act at L.A.'s Comedy Store in 1992 proved disastrous; unable to stand, Pryor was forced to deliver his monologues from an easy chair; he aborted his planned tour soon after. He appeared in television and films only sporadically in his final decade, save a rare cameo in David Lynch's 1997 Lost Highway. These dark omens foretold a sad end to a shimmering career; the world lost Pryor soon after. On December 12, 2005, the comedian - only 65 years old -- died of a heart attack in a Los Angeles hospital. But he left a peerless legacy behind as a stand-up comic and black actor.

Trivia: Six-foot granite-jawed Anthony Eisley came into his own as a leading man on television in the late 1950s and early 1960s, before switching to more demanding and complex character and supporting roles. The son of a corporate executive, he was born Frederick Glendinning Eisley in Philadelphia, PA in 1925. He spent most of his childhood moving with his family as his father's various positions took them from city to city, every few years. He was bitten by the acting bug early in life, but had no serious was of pursuing a career in the field until he joined a stock company in Pennsylvania. He began getting theater roles after that and by the early 1950s had begun working in television and feature films, the latter usually uncredited, under the name Fred Eisley -- this also included his first series work, in Bonino (1953), starring Ezio Pinza and a young Van Dyke Parks. While his theater work included such prime fare as Mister Roberts and Picnic, when it came to movies and television he was in every kind of production there was, from independent, syndicated TV series such as Racket Squad to high-profile movies like The Young Philadelphians, and Eisley broke through to star billing in the Roger Corman-directed horror film The Wasp Woman (1960) (working opposite Susan Cabot in the title role). Around that same time he took the role of John Cassiano in Pete Kelly's Blues (1959), a short-lived TV series directed and produced by Jack Webb. It was after being seen in a stage production of Who Was That Lady that Eisley was cast as Tracy Steele, the tough ex-cop turned private detective in the series Hawaiian Eye. It was also with that series that he became Anthony Eisley. Following the three-year run of that series, Eisley resumed work as a journeyman actor, but the array of roles that he took on improved exponentially -- in one episode of The Dick Van Dyke Show, entitled "The Lady And The Tiger And The Lawyer", he guested as a seemingly affable, attractive new neighbor of the Petries who admits, in the end, that he has a problem with spousal abuse that prevents him from choosing either of the women they've aimed at him at a possible match; and in Samuel Fuller's groundbreaking film drama The Naked Kiss, he plays a hard-nosed cop who uncovers a sinister, deeply troubling side to his city's much-publicized children's hospital and the people behind it. Eisley appeared in dozens of television series and movies over the ensuing three decades, always giving 100% of himself even when the budget and the production were lacking (see The Navy Vs. The Night Monsters . . . .. But on the sets of television shows, especially, where the quality was there, his work was without peer -- that was one reason that Jack Webb, who had used him in Pete Kelly's Blues, made Eisley a part of his stock company, using him in six episodes of Dragnet in the 1960s. Those shows are especially fascinating to watch for the quiet intensity of his performances -- he mostly played morally-compromised character, including a man plotting the murder-for-hire of his wife, an affable but corrupt police lieutenant, and career criminal who thinks (incorrectly) that he has outsmarted the detectives who are questioning him. Eisley's credits, in keeping with his image from Hawaiian Eye, were heavily concentrated in series devoted to law enforcement. He continued working through the 1990s, and died of heart failure in 2003, at the age of 78.