Trivia: Character actor Hal Smith (born Harold John Smith) cut his acting teeth in various touring road companies. Before serving in the Air Force during World War II, he had amassed impressive credits as a band singer, radio disc jockey, and writer. In the postwar years, he decided to try his luck in Hollywood, although holding down a real-estate job so he'd have a financial cushion between acting jobs. His first recurring TV role was on the vintage sitcom I Married Joan (1952-53). (It was a different actor who appeared in the bit role of Anne Baxter's suitor in O. Henry's Full House [1952].) He spent most of the '50s playing guest stints and providing voice-overs for cartoon characters, and was briefly Hal the Bartender, a commercial spokesman for a popular brand of beer. In 1960, he was signed for the semi-regular role of town drunk Otis Campbell on The Andy Griffith Show, essaying this hilarious (if politically incorrect) characterization with expertise, although he often insisted, "I don't think I've ever really been drunk in my whole life." Since Otis did not appear in every Griffith episode, Smith had time aplenty to free-lance, playing such film roles as a drunken Santa in Billy Wilder's The Apartment (1960) and an effeminate Roman emperor in The Three Stooges Meet Hercules (1962), and supplying voices for such cartoon programs as Davey and Goliath and The Flintstones. By 1962, he was making 50,000 dollars per year, a tidy sum in those days. During the 1970s and '80s, Smith was most closely associated with Disney, replacing the late Vance "Pinto" Colvig as the voice of Goofy and providing voices for series ranging from Winnie the Pooh and Friends to Ducktales. Smith died in 1994.

Trivia: Diminutive (5'7") comic actor Howard Morris was in his teens when, while attending the National Youth Administration's radio workshop in New York City, he befriended another aspiring actor named Carl Reiner. The two were reunited in Honolulu during World War II, when Morris was Reiner's sergeant in an entertainment unit. Both Morris and Reiner played supporting roles in Maurice Evans' army-camp tour of Hamlet and MacBeth; after the war, the two performers toured in the musical Call Me Mister before joining the cast of Sid Caesar's TV comedy-variety series. Only after finishing nine seasons with Caesar were Morris and Reiner able to establish their own individual showbiz identities: Reiner as a novelist, film supporting actor, director and creator of The Dick Van Dyke Show, and Morris as one of the most prolific TV guest stars and directors of the 1960s. Relocating from New York to LA in 1961, Morris played the recurring role of goonish, rock-throwing Ernest T. Bass on The Andy Griffith Show, and a whole slew of one-shot assignments on series ranging from The Danny Thomas Show to The Twilight Zone. Morris forever shed the "third banana" status he'd had during his Sid Caesar days by directing episodes of such TV weeklies as Andy Griffith, The Dick Van Dyke Show, Gomer Pyle USMC, and the unforgettable black-and-white pilot for Get Smart. He also served as producer of the 1972-73 sitcom The Corner Bar. In films, Morris sparkled in such supporting parts as Jerry Lewis' browbeaten father in The Nutty Professor and German psychiatrist Dr. Lilloman in Mel Brooks' High Anxiety (1977). His theatrical-film directorial credits include the all-star comedy Who's Minding the Mint (1967), Doris Day's swan song With Six You Get Eggroll (1968), a very WASP-ish adaptation of Woody Allen's Don't Drink the Water (1969), and the Donny & Marie Osmond opus Goin' Coconuts (1978). Howard Morris is also a fixture of the animated cartoon voice-over world, supplying voices and directing recording sessions for many a Hanna-Barbera, Filmation and Walt Disney production: If you can't place the voice, think of Morris as Atom Ant, Beetle Bailey, Jughead Jones, and futuristic rock star Jet Screamer ("Eep, opp, ork, ah-ah") on The Jetsons.

Trivia: Canadian actor Henry Corden played numerous character roles in U.S. films, on stage and on television. He was typically cast as a comical, avaricious Arab. Corden had a distinctive voice and frequently voiced children's cartoons.

Trivia: American comic character actor Allan Melvin worked on stage, radio, screen, and television, where he is best remembered for playing Sam the Butcher, the love interest of beloved housekeeper Alice on The Brady Bunch. He also appeared as Sergeant Bilko's right-hand man The Phil Silvers Show, and as Archie Bunker's best friend on All in the Family). Melvin also worked in commercials and voiced many animated cartoons. He died of cancer in January 2008 at age 84.

Trivia: Actress Verna Felton had spent years honing her craft on the stage before she established her reputation on radio. Felton's contributions to the airwaves ranged from the part of Mme. DeFarge in a Lux Radio Theatre version of Tale of Two Cities to the recurring role of the Mean Widdle Kid's grandma on The Red Skelton Show. After the death of her actor/husband Lee Millar in 1941, Felton began her screen career. Her movie assignments consisted largely of voiceover work for Walt Disney's animated features: she can be heard as a gossiping elephant in Dumbo (1941), the Fairy Godmother who sings "Bibbidy Bobbidy Boo" in Cinderella (1950), the Queen of Hearts in Alice in Wonderland (1951), Flora the good fairy in Sleeping Beauty (1959), and still another elephant in The Jungle Book (1967). She carried her voiceover activities into television, supplying the voice of Fred Flintstone's eternally nagging mother-in-law in The Flintstones (1960-66). Verna Felton is best-known to TV fans as Hilda Crocker on the popular sitcoms December Bride (1954-58) and Pete and Gladys (1960-62).

Trivia: Herschel Bernardi, along with his actor-brother Jack, was the product of a long-established family of Yiddish performers. On stage from childhood, Bernardi made his first on-camera appearances in a brace of Yiddish-language films, Green Fields and Yankel the Blacksmith, both lensed in New Jersey in 1939. While successful in ethnic productions, Herschel encountered resistance from producers of mainstream Broadway plays, one of whom advised the actor to wait until he "grew into" his character-actor face. As Harold Bernardi, he played a bit in the 1945 Hollywood film Miss Susie Slagle's. He was one of several actors blacklisted for their alleged leftist politics in the 1950s, an experience he relived as a cast member of the 1976 film The Front. Shortly after being "exonerated," Bernardi was cast in the recurring role of Lt. Jacoby on the late-1950s series Peter Gunn, an assignment for which he won an Emmy. In 1969, Bernardi played the starring part of a blue-collar worker thrust into the executive pool in the TV sitcom Arnie. He also provided voiceovers for hundreds of cartoons and commercials, "starring" as Charley the Tuna and the Jolly Green Giant. On Broadway in the 1960s and '70s, Herschel Bernardi starred in over 700 performances of Fiddler on the Roof and also played the lead in the musical Zorba; at one juncture, Bernardi had so strained his vocal chords that he was ordered by his doctor not to speak for a full year, lest he permanently lose his voice.

Trivia: Character actor Howard McNear made a name for himself on network radio in a vast array of characterizations, from snivelling murderers to dapper French detectives. McNear's best-known radio role was as Doc on Gunsmoke, which ran from 1955 to 1962; his spin on the character was slightly more ghoulish than the interpretation offered by Milburn Stone on television. In films from 1954, the bespectacled, mustachioed McNear was usually cast as a querulous fussbudget. He was spotlighted as Dr. Dompierre in Otto Preminger's Anatomy of a Murder (1959), and was prominently featured in three Billy Wilder comedies, Irma La Douce (1963), Kiss Me Stupid (1964) and The Fortune Cookie (1966). He appeared with frequency on TV in the 1950s and 1960s, often as a foil to such comedians as Jack Benny and Burns and Allen. Howard McNear's most beloved TV characterization was as Mayberry barber Floyd Lawson on The Andy Griffith Show; when McNear suffered a debilitating stroke in 1967, Griffith kept him on the payroll, re-writing the scripts to allow "Floyd" to be seated and non-ambulatory without drawing undue attention to McNear's affliction.