Trivia: Left fatherless at the age of four, American actress Lucille Ball developed a strong work ethic in childhood; among her more unusual jobs was as a "seeing eye kid" for a blind soap peddler. Ball's mother sent the girl to the Chautauqua Institution for piano lessons, but she was determined to pursue an acting career after watching the positive audience reaction given to vaudeville monologist Julius Tannen. Young Ball performed in amateur plays for the Elks club and at her high school, at one point starring, staging, and publicizing a production of Charley's Aunt. In 1926, Ball enrolled in the John Murray Anderson American Academy of Dramatic Art in Manhattan (where Bette Davis was the star pupil), but was discouraged by her teachers to continue due to her shyness. Her reticence notwithstanding, Ball kept trying until she got chorus-girl work and modeling jobs; but even then she received little encouragement from her peers, and the combination of a serious auto accident and recurring stomach ailments seemed to bode ill for her theatrical future. Still, Ball was no quitter, and, in 1933, she managed to become one of the singing/dancing Goldwyn Girls for movie producer Samuel Goldwyn; her first picture was Eddie Cantor's Roman Scandals (1933). Working her way up from bit roles at both Columbia Pictures (where one of her assignments was in a Three Stooges short) and RKO Radio, Ball finally attained featured billing in 1935, and stardom in 1938 -- albeit mostly in B-movies. Throughout the late 1930s and '40s, Ball's movie career moved steadily, if not spectacularly; even when she got a good role like the nasty-tempered nightclub star in The Big Street (1942), it was usually because the "bigger" RKO contract actresses had turned it down. By the time she finished a contract at MGM (she was dubbed "Technicolor Tessie" at the studio because of her photogenic red hair and bright smile) and returned to Columbia in 1947, she was considered washed up. Ball's home life was none too secure, either. She'd married Cuban bandleader Desi Arnaz in 1940, but, despite an obvious strong affection for one another, they had separated and considered divorce numerous times during the war years. Hoping to keep her household together, Ball sought out professional work in which she could work with her husband. Offered her own TV series in 1950, she refused unless Arnaz would co-star. Television was a godsend for the couple; and Arnaz discovered he had a natural executive ability, and was soon calling all the shots for what would become I Love Lucy. From 1951 through 1957, it was the most popular sitcom on television, and Ball, after years of career stops and starts, was firmly established as a megastar in her role of zany, disaster-prone Lucy Ricardo. When her much-publicized baby was born in January 1953, the story received more press coverage than President Eisenhower's inauguration. With their new Hollywood prestige, Ball and Arnaz were able to set up the powerful Desilu Studios production complex, ultimately purchasing the facilities of RKO, where both performers had once been contract players. But professional pressures and personal problems began eroding the marriage, and Ball and Arnaz divorced in 1960, although both continued to operate Desilu. Ball gave Broadway a try in the 1960 musical Wildcat, which was successful but no hit, and, in 1962, returned to TV to solo as Lucy Carmichael on The Lucy Show. She'd already bought out Arnaz's interest in Desilu, and, before selling the studio to Gulf and Western in 1969, Ball had become a powerful executive in her own right, determinedly guiding the destinies of such fondly remembered TV series as Star Trek and Mission: Impossible. The Lucy Show ended in the spring of 1968, but Ball was back that fall with Here's Lucy, in which she played "odd job" specialist Lucy Carter and co-starred with her real-life children, Desi Jr. and Lucie. Here's Lucy lasted until 1974, at which time her career took some odd directions. She poured a lot of her own money in a film version of the Broadway musical Mame (1974), which can charitably be labeled an embarrassment. Her later attempts to resume TV production, and her benighted TV comeback in the 1986 sitcom Life With Lucy, were unsuccessful, although Ball, herself, continued to be lionized as the First Lady of Television, accumulating numerous awards and honorariums. Despite her many latter-day attempts to change her image -- in addition to her blunt, commandeering off-stage personality -- Ball would forever remain the wacky "Lucy" that Americans had loved intensely in the '50s. She died in 1989.

Trivia: Described by TV producer Hy Averback as "a combination of Laurence Olivier andCharley Chase," bombastic comic actor Gale Gordon was the son of vaudeville performers. His father was "quick-change" artist Charles T. Aldrich, and his mother was actress Gloria Gordon (best known for her portrayal of Mrs. O'Reilly on radio's My Friend Irma). Born with a cleft palate, Gordon underwent two excruciating oral operations as a child. By the time he was 17, Gordon's diction was so precise and his "new" voice so richly developed that he was invited to study acting under the aegis of famed actor/manager Richard Bennett. After several years on stage, Gordon moved to California in 1929, where he worked in Los Angeles radio as a free-lance actor and announcer. He appeared in heroic and villainous "straight" parts on such syndicated radio series as The Adventures of Fu Manchu and English Coronets, but soon found that his true forte was comedy. Gordon played the flustered Mayor La Trivia on Fibber McGee and Molly, several prominent roles on The Burns and Allen Show, and, best of all, pompous principal Osgood Conklin on Our Miss Brooks. In films since 1933 (he played a bit at the end of Joe E. Brown's Elmer the Great), Gordon proved a formidable comic foil in such films as Here We Go Again (1942, again with Fibber McGee and Molly), and Jerry Lewis' Don't Give Up the Ship (1959) and Visit to a Small Planet (1960). It is impossible to have grown up watching television without at least once revelling in the comedy expertise of Gale Gordon. In addition to starring in the 1956 sitcom The Brothers, Gordon was also seen in the video versions of My Favorite Husband, Our Miss Brooks, The Danny Thomas Show, Dennis the Menace--and virtually every one of Lucille Ball's TV projects, including her last, 1986's Life with Lucy.

Trivia: Believe it or don't: comedian Don Rickles--the "Merchant of Venom," "The Caliph of Calumny," "Mister Warmth"--was once a dedicated student at the American Academy of Dramatic Arts. As a movie-struck kid, Rickles aspired to share the Big Screen with such idols as Clark Gable and James Cagney. He got his wish in his first film, 1958's Run Silent Run Deep, wherein Gable topped the cast. Rickles went on to receive critical plaudits for his villainous performance in 1960's The Rat Race, and also popped up with regularity on such TV series as The Thin Man and The Twilight Zone. But truly good roles for a short, baldpated young character actor were relatively few and far between. During a long period between acting assignments, Rickles decided to work up a nightclub act. He began as a traditional stand-up comic, but when annoyed by hecklers, he instinctively insulted the insulters back as a defense mechanism. Audiences laughed harder at his impromptu insults than his prepared material, and thus the dye was cast for Rickle's show-business future. The story goes that, upon spotting Frank Sinatra in one of his audiences, Rickles impulsively cried out "Come right in, Frank. Make yourself at home. Hit somebody." The normally combative Sinatra exploded with laughter, and from that point on Rickles was "in." While the bulk of his fame and fortune rested upon his nightclub work, Rickles still kept a hand in acting, playing guest spots on TV programs like F Troop, The Andy Griffith Show, The Dick Van Dyke Show, I Spy and Run for Your Life (he was particularly good in the last-named series as a washed-up comedian facing a statutory rape charge). As his own vitriolic "self" (though rumors persist that Rickles is a pussycat off-camera), he convulsed the stars of such variety series as The Dean Martin Show and The Andy Williams Show. When Dean Martin altered his series to a "roast" format in the early 1970s, Rickles could always be counted upon for a steady stream of hilarious invectives; conversely, he took it as well as he dished it out when the Friar's Club elected him Entertainer of the Year in 1974. The one sore spot in Rickles' latter-day career was his failure to sustain a weekly TV series. The 1968 variety outing The Don Rickles Show was axed after thirteen weeks, while a 1972 sitcom of the same name barely survived the season. He had better luck as star of the 1976 comedy series C.P.O. Sharkey, which lasted two years; but in 1993, Daddy Dearest, which co-starred Rickles with "neurotic" comedian Richard Lewis, was on and off in only two months. In comparison, Rickles has done quite well in films, with choice secondary roles in such productions as Where It's At?, Kelly's Heroes (1970) and several of the "Beach Party" frivolities. In 1995, after several years away from films, Don Rickles resurfaced with a solid supporting part in Martin Scorsese's Casino, and as the voice of a singularly abrasive Mr. Potato Head in the animated Toy Story. He had a brief but memorable cameo in the comedy Dirty Work, and was the subject of his own documentary, Mr. Warmth: The Don Rickles Project. He returned to voice Mr. Potato Head in two Toy Story sequels as well as a number of Pixar shorts, and he gave voice to one of the animals in the Kevin James vehicle Zookeeper. Rickles died in 2017, at age 90.

Trivia: After a few desultory movie appearances in the mid-1930s, rotund American actor Stanley Adams came to films permanently in 1952, to re-create his stage role as the bartender in the movie version of Death of a Salesman. His busiest period was 1955-1965, when he appeared on virtually every major TV series in America. His video roles ranged from a pompous time-travelling scientist on Twilight Zone to a wisecracking witch doctor on Gilligan's Island. Shortly after completing his last film, 1976's Woman in the Rain, Stanley Adams committed suicide at the age of 62.

Trivia: Cliff Norton was a former disc jockey from Chicago who segued into television during the peak era of the variety show. He found fame with his unique brand of sketch comedy before establishing himself in such classic television series as Studio One and Kraft TV Theater. Norton's early successes included radio's "Fibber McGee and Molly." He would subsequently serve as a World War II bombardier in the Army Air Corps before returning stateside to continue his career in radio. Despite his success in this medium, the talented funnyman's appearances on Garroway at Large lead Norton to New York and eventually a stage and screen career. Films Norton appeared in include It's a Mad Mad Mad Mad World (1963), The Ghost and Mr. Chicken (1966), and Funny Lady (1975). In January of 2003, Cliff Norton died in Los Angeles, CA, following a brief illness. He was 84.