Trivia: In little more than a year's time and after appearing in only three feature films, James Byron Dean became one of the most admired screen stars of all time, achieving cult status and becoming an icon of American culture. The son of a dental technician, Dean was born in Marion, IN, an unprepossessing Midwestern burg that has since become a shrine to Dean aficionados. At five, Dean moved to Los Angeles with his family. Four years later, his mother died, and he was returned to the Midwest, to be cared for by relatives on their Fairmount, IN, farm. Upon graduation from high school, he returned to California and attended Santa Monica Junior College and U.C.L.A., later gravitating to acting, first with James Whitmore's workshop group, then in television commercials. His earliest existing film appearance was as one of Christ's apostles in "Hill Number One," a 1951 episode of the TV religious series Family Theatre. Working as a busboy between acting engagements in New York, he was given his first Broadway break in the short-lived The Jaguar. Dean soon began receiving uncredited bit parts in Hollywood films, the most prominent of which was his tongue-twisting turn as a soda emporium customer in Universal's Has Anybody Seen My Gal? (1952). Then it was back to New York, where he observed classes at the Actors' Studio. While making a few scattered live-TV appearances, Dean paid the bills by working as a "test pilot" on the audience-participation series Beat the Clock, walking through the various stunts in rehearsal to see if "normal" people could perform them during the telecast. Upon being cast in the Broadway play The Immoralist, he was compelled to give up his Beat the Clock job to another aspiring actor, Warren Oates.Creating a sensation as an Arab gigolo in The Immoralist, Dean came to the attention of director Elia Kazan, who'd previously brought the "Method" to the masses by casting Marlon Brando in A Streetcar Named Desire (1951) and Viva Zapata! (1952). Sensing an embryonic Brando in Dean, Kazan cast the sensitive young actor as Cal Trask in the 1955 film adaptation of Steinbeck's East of Eden. Playing a hell-raising teenager who yearned openly and unashamedly to be loved and accepted by his rigid and taciturn father (Raymond Massey), Dean "spoke" to the disenfranchised youth of the Eisenhower era far more eloquently than any previous actor. Dean carried his loner persona over into his next film, Rebel Without a Cause (1955). Even after four decades, this Nicholas Ray-directed film remains the quintessential misunderstood-teen flick. While Rebel was in production, East of Eden hit the theaters, stirring up the first signs of Dean's staggering popularity -- what would later become the "James Dean Cult." Knowing they had a gold mine on their hands, Warner Bros. instantly upped the budget of Rebel, scrapping the black-and-white footage that had already been shot and starting the whole project over in color and Cinemascope. Now committed to a seven-year contract at Warners, Dean was afforded third billing to Rock Hudson and Elizabeth Taylor in Giant, director George Stevens' epic cinemazation of Edna Ferber's best-seller. As Jett Rink, Dean once more played the brooding outsider, this time separated from his heart's desire by his lowly station in life. Even when cast in a villainous light, however, Dean remains the most fascinating presence in the film, especially in his brilliantly choreographed climactic drunk scene. Dean plays the cast-off loner in all three of his starring features, unable to draw attention to himself until forcing the issue. Off camera, Dean unfortunately possessed a fascination with fast cars. Upon completing Giant, he piled into his new 7,000 dollar Porsche and zoomed off to a racing event in Salinas. Traveling 115 miles an hour, Dean was killed in a head-on crash just outside Paso Robles, CA. The hysterical outpouring of grief that attended his death had not been witnessed by the motion picture community since the demise of Rudolph Valentino in 1926. The cult worship of James Dean assumed a variety of shapes, sizes, and degrees. Book upon book has been written about Dean's short life; original poster art from his films has been auctioned off at astronomical prices and two full-length biopics have been produced: the hastily cobbled together The James Dean Story (1957) and the made-for-TV James Dean (1976), the latter project based on the memoirs of Dean's roommate, James Bast, and starring Stephen McHattie. After Dean's death, two of the actor's scheduled post-Giant projects, the 1955 TV musical adaptation of Our Town and the 1956 Rocky Graziano biopic Somebody Up There Likes Me, were both re-cast with Paul Newman. It is quite possible that the James Dean mystique, which persists to the present day, might not have been as intense had he lived longer, but like so many others untimely ripped from our midst -- Jean Harlow, Marilyn Monroe, John Lennon -- James Dean has transcended mere idol status and entered the hallowed halls of Legend.

Trivia: A renowned theater actress, Julie Harris also augmented her reputation with strong performances in a number of film and TV roles, despite her aversion to the Hollywood "glamour star" trip. Born to a well-to-do Grosse Pointe, Michigan, family, Harris opted to pursue acting at Yale Drama School rather than make her society debut at age 19. She landed her first Broadway part one year later. Harris' career was truly launched at age 25, however, by her star-making performance as troubled pre-teen tomboy Frankie in Carson McCullers' play The Member of the Wedding in 1950. Reprising her role in the film adaptation of The Member of the Wedding (1952), Harris scored an Oscar nomination for Best Actress in her first major film appearance. Though she did not win, she did win the first of five Tony Awards in 1952 for her Broadway turn as Berlin cabaret singer Sally Bowles in I Am a Camera. Along with the well-received film version of I Am a Camera in 1955, Harris starred in perhaps her best-known film that same year: Elia Kazan's East of Eden. As initially-coquettish Abra, Harris became a sensitive yet sensible romantic lead opposite an anguished James Dean in his legendary debut. With this trio of films, Harris became part of the 1950s cinematic turn toward performative "realism" exemplified by Method actor icons Dean and Marlon Brando (despite her own impatience with the Method after an Actors Studio stint).Harris continued to avoid typecasting by playing a number of different roles in TV, theater, and movie productions throughout the subsequent decades. On film, Harris showed her considerable range as a kindly social worker in the film version of Rod Serling's teleplay Requiem for a Heavyweight (1962), one of the highly disturbed human guinea pigs in the original (and far superior) version of The Haunting (1963), a frustrated nightclub chanteuse in the Paul Newman p.i. vehicle Harper (1966), and a troubled wife in Reflections in a Golden Eye (1967). On stage, Harris' specialty became playing famous women throughout history, including Tony-award winning performances as Joan of Ark in The Lark (1956), Mary Todd Lincoln in The Last of Mrs. Lincoln (1973) (adapted for TV in 1976), and Emily Dickinson in The Belle of Amherst (1977).After surviving a bout with cancer in 1981, Harris achieved considerable fame with a new audience by playing Lilimae Clements on the TV nighttime serial Knot's Landing from 1981 to 1988. After she left the show, Harris returned to films, after nearly a decade, as Sigourney Weaver's friend in Gorillas in the Mist (1988). Harris kept busy throughout the 1990s with supporting roles in several films, including Housesitter (1992) and the George A. Romero/Stephen King chiller The Dark Half (1993), as well as starring roles onstage and in TV films, including Ellen Foster (1997). She was awarded the National Medal of the Arts in 1994. Harris would continue to act throughout the decades to come, memorably appearing in TV movies like Little Surprises and Love is Strange. Harris retired from on-screen acting in 2009, and eventually passed away in 2013. She was 87.

Trivia: A product of New York's Neighborhood Playhouse, Jo Van Fleet launched her career in 1944, specializing in playing women far older than herself. On the strength of her work in the 1954 Broadway play A Trip to Bountiful, she was cast as the slatternly mother of James Dean in the film version of Steinbeck's East of Eden, winning an Academy Award for her performance. Her later screen assignments included the role of an octogenarian in Elia Kazan's Wild River (1960) and the part of Paul Newman's dying mother in Cool Hand Luke (1967). Jo Van Fleet's TV resumé included three appearances on Alfred Hitchcock's anthology series and a virtuoso turn as the title character's wicked stepmother in Rodgers and Hammerstein's Cinderella (1965). Van Fleet passed away in New York's Jamaica Hospital on June 10, 1996; she was 76.

Trivia: As one of several sons of the owner of Toronto's Massey/Harris Agricultural Implement Company, Raymond Massey was expected to distinguish himself in business or politics or both (indeed, one of Raymond's brothers, Vincent Massey, later became Governor General of Canada). But after graduating form Oxford University, Massey defied his family's wishes and became an actor. He made his first stage appearance in a British production of Eugene O'Neill's In the Zone in 1922. By 1930, Massey was firmly established as one of the finest classical actors on the British stage; that same year he came to Broadway to play the title role in Hamlet. In 1931, Massey starred in his first talking picture, The Speckled Band, portraying Sherlock Holmes. One year later, he was co-starred with Charles Laughton, Melvyn Douglas, Gloria Stuart and Ernst Thesiger in his first Hollywood film, the classic The Old Dark House (1932). Returning to England, Massey continued dividing his time between stage and screen, offering excellent performances in such major motion-picture efforts as The Scarlet Pimpernal (1935) and Things to Come (1936). In 1938, he was cast in his most famous role: Abraham Lincoln, in Robert E. Sherwood's Pulitzer Prize-winning Broadway production Abe Lincoln in Illinois. Massey repeated his Lincoln characterization in the 1940 film version of the Sherwood play, and 22 years later played a cameo as Honest Abe in How the West Was Won (1962). Refusing to allow himself to be pigeonholed as Lincoln, Massey played the controversial abolitionist John Brown in both Santa Fe Trail (1940) and Seven Angry Men (1955), and gave an effectively straight-faced comic performance as mass murderer Jonathan Brewster (a role originally written for Boris Karloff) in Frank Capra's riotous 1941 filmization of Arsenic And Old Lace. Though he would portray a wisecracking AWOL Canadian soldier in 1941's 49th Parallel and a steely-eyed Nazi officer in 1943's Desperate Journey, Massey served valiantly in the Canadian Army in both World Wars. On television, Massey played "Anton the Spymaster", the host of the 1955 syndicated anthology I Spy; and, more memorably, portrayed Dr. Gillespie in the 1960s weekly Dr. Kildare. An inveterate raconteur, Massey wrote two witty autobiographies, When I Was Young and A Thousand Lives (neither of which hinted at his legendary on-set contentiousness). Married three times, Raymond Massey was the father of actors Daniel and Anne Massey.

Trivia: After attending Charleston (Illinois) Teachers College and New York University, bearded, burly Burl Ives played pro football, then traversed the country as an itinerant handyman. His gifts as a guitarist and balladeer enabled Ives to secure radio work in the 1940s: one of his earliest series was titled, appropriately enough, The Wayfaring Stranger. A natural-born actor, Ives made his screen debut in 1946's Smoky. Throughout the rest of his career, there were two Burl Ives. The twinkly-eyed, grandfatherly Ives was the fellow who provided comedy relief in such films as Summer Magic (1963) and The Brass Bottle (1964), who starred in the easygoing culture-clash TV sitcom OK Crackerby (1965) who played the gruff-but-avuncular senior attorney on the weekly series The Bold Ones: The Lawyers (1969), and who recorded such song hits as "Itty Bitty Tear," "My Funny Way of Laughing" and that inescapable Holiday perennial, "Have a Holly Jolly Christmas." Then there was the "other" Burl Ives: the shark-eyed, intimidating, domineering patriarch who portrayed Big Daddy in Cat on a Hot Tin Roof (1958) and Ephraim Cabot in Desire Under the Elms (1959) and who won an Academy Award for his chilling portrayal of a mean-for-the-hell-of-it land baron in The Big Country (1958).

Trivia: A graduate of Bowdoin college, Albert Dekker made his professional acting bow with a Cincinnati stock company in 1927. Within a few months he was featured in the Broadway production of Eugene O'Neill's Marco Millions. After a decade's worth of impressive theatrical appearance, Dekker made his first film, 1937's The Great Garrick. Usually cast as villains, Dekker was starred in the Technicolor horror film Dr. Cyclops (1940) and played a fascinating dual role in the 1941 suspenser Among the Living. Dekker's offscreen preoccupation with politics led to his winning a California State Assembly seat in 1944; during the McCarthy era, Dekker became an outspoken critic of the Wisconsin senator's tactics, and as a result the actor found it hard to get work in Hollywood. He returned to Broadway, then made a movie comeback in 1959. During his last decade, Dekker alternated between film, stage and TV assignments; he also embarked on several college-campus lecture tours. In May of 1968, Dekker was found strangled to death in his Hollywood home. His naked body was bound hand and foot, a hypodermic needle was jammed into each arm, and obscenities were scrawled all over the corpse. At first, it seemed that Dekker was a closet homosexual who had committed suicide (early reports suggested that the writings on his body were his bad movie reviews) or had died while having rough sex. While the kinky particulars of the case were never officially explained, it was finally ruled that Albert Dekker had died of accidental asphyxiation.

Trivia: American actor Richard Davalos might have been a star had it not been for the formidable competition in his star-making movie. Davalos was cast as Aron the upright, dutiful son of Raymond Massey in the expensive 1955 filmization of East of Eden. The film, however, belonged to the boy playing Cal, Aron's supposedly ne'er-do-well younger brother: James Dean. One recent magazine article figuratively robbed Davalos of the best scene in the movie, wherein, after learning that his mother was a prostitute, he taunts his erring father by laughingly smashing his head through a glass window; the magazine attributed this unforgettable moment to James Dean! It's too bad, since Davalos was actually a lot more versatile than Dean (if not as charismatic), having proven this in a multitude of TV guest roles. As for movies, except for the meaty role of Blind Dick in Cool Hand Luke (1967), the best Davalos could do after Eden were such negligible starring stints as Pit Stop (1969) and indifferent character roles in films like Kelly's Heroes (1971). In 1961, Richard Davalos co-starred with Darryl Hickman on the short-lived television Civil War series The Americans. His last film was 2008's Ninja Cheerleader. Davalos died in 2016, at age 85.

Trivia: In films since 1952, character actor Timothy Carey gained a cult following for his uncompromising portrayals of sadistic criminals, drooling lechers, and psycho killers. His definitive screen moment occurred in Stanley Kubrick's The Killing (1955), in which, as two-bit hoodlum Nikki Arane, he gleefully shot down a race horse. Kubrick used Carey again in Paths of Glory (1957), this time in the sympathetic role of condemned prisoner Private Ferol. Equally impressed by Carey's work was director John Cassavetes, who gave the actor a leading role in Killing of a Chinese Bookie (1976). In 1963, Carey spoofed his unsavory screen image in Beach Blanket Bingo, playing leather-jacketed cyclist South Dakota Slim, who expresses his affection for leading lady Linda Evans by strapping her to a buzzsaw. He went on to menace the Monkees in Head (1968), bellowing out incomprehensible imprecations as Davy, Mike, Micky, and Peter cowered in confused terror. One of his juiciest film roles was as a rock-singing evangelist in The World's Greatest Sinner (1962), which he also produced, directed, and wrote. In his later years, Timothy Carey occasionally occupied his time as an acting teacher.

Trivia: University of Oklahoma alumnus Lonny Chapman inaugurated his professional acting career in 1948. While co-starring in the Broadway production of Come Back Little Sheba, Chapman arranged for his college chum Dennis Weaver to understudy for him. Weaver went on to TV fame as Chester on the Western series Gunsmoke, while Chapman prospered as a film character actor, playing such roles as Roy in East of Eden (1955), Rock in Baby Doll (1957), and Deke Carter in Hitchcock's The Birds (1963). On TV, Lonny Chapman starred as private eye Jeff Prior in the 1958 summer-replacement series The Investigator, and was featured as another detective, Frank Malloy, in the 1965 courtroom weekly For the People (1965).

Trivia: Greek-born actor Nick Dennis may have been short of stature, but that didn't prevent him from cutting a prominent and memorable image onscreen (and on-stage) in a career that crossed 40 years and two coasts. Indeed, his diminutive physique was more than matched by an outsized talent, and an ability to steal almost any scene he was in, working among the stars of whatever the production happened to be. Dennis was born in Thessaly in 1904, and his American stage career dated from the mid-'30s. He made his debut on Broadway in September 1935 playing a telegraph boy in the Howard Lindsay/Damon Runyon comedy A Slight Case of Murder; and in April 1936, he played a thug in the original Broadway production of Richard Rodgers' and Lorenz Hart's On Your Toes, starring Ray Bolger. His other early stage credits included On Borrowed Time and The World We Make, of which only the latter was a conspicuous success at the time. He continued to find steady work through the Second World War and beyond, including roles in José Ferrer's Broadway production of Cyrano De Bergerac. It was around the time of the latter's run that he made his big-screen debut with a role in the New York-filmed drama A Double Life (1947). But it was the part of Pablo Gonzales in A Streetcar Named Desire, directed by Elia Kazan, that brought him to Hollywood, to appear in the Kazan-directed film version. Dennis' screen credits multiplied by the dozens over the next few years, in pictures such as Sirocco (1951) and Eight Iron Men (1952), as well as television work on anthology shows such as Fireside Theatre. Kazan used him in East of Eden (1955), and Robert Aldrich gave him the role of extrovert garage mechanic and car enthusiast Nick in Kiss Me Deadly, which also offered him a prominent exit scene and key role in the plot. It was in that picture, with Dennis running on all cylinders, so to speak, that one could see him at his flamboyant best, stealing at least two key scenes from star Ralph Meeker. Aldrich also used Dennis in The Big Knife, and he would show up in numerous films and television shows across the 1950s, sometimes in delightfully bizarre moments; in a gypsy wedding scene in Nicholas Ray's Hot Blood, his character is leading a trained bear on a leash. Dennis became something of a cinematic specialty act during this period with his outsized, flamboyant persona, and he was much-loved by audiences in all genres. Additionally, he appeared in dozens of television shows over the next six years, and it was television where he made his biggest long-term impression as an actor. In 1962, he became a regular, recurring character as hospital orderly Nick Kanavaras on Ben Casey, where he frequently provided lighter moments in the drama. Following the series' cancellation, he continued to work, mostly in television, into the mid-'70s, including several made-for-TV features and a string of appearances on the series Kojak, starring Telly Savalas.

Trivia: Supporting actress, onscreen from 1955.

Trivia: After briefly attending the College of the Pacific, Barbara Baxley headed to New York to pursue an acting career. Barbara studied at Sanford Meisner's Neighborhood Playhouse, then went on to become a charter member of the Actor's Studio. After making her New York stage bow in the 1948 revival of Private Lives, she spent the next several years taking over for a number of "big-name" actresses in long-running Broadway plays. She also starred in the original productions of Dark at the Top of the Stairs and Period of Adjustment, and worked extensively off-Broadway in projects like Brecht on Brecht. In the company of several of her Actor's Studios colleagues, Barbara made her film debut in East of Eden (1955), playing the nurse in the closing scenes. Other roles in her feature-film manifest included country-western matriarch Lady Pearl in Nashville (1975) and Leona in Norma Rae (1979). On television, Barbara was one of the stars of Norman Lear's satirical gender-switch soap opera All That Glitters (1977). In June of 1990, 62-year-old Barbara Baxley was found dead in her New York apartment, apparently the victim of heart failure.

Trivia: There's a bit of a cloud surrounding the origins of character actor Harry Cording. The 1970 biographical volume The Versatiles lists his birthplace as New York City, while the exhaustive encyclopedia Who Was Who in Hollywood states that Cording was born in England. Whatever the case, Cording made his mark from 1925 through 1955 in distinctly American roles, usually portraying sadistic western bad guys. A break from his domestic villainy occurred in the 1934 Universal horror film The Black Cat, in which a heavily-made-up Harry Cording played the foreboding, zombie-like servant to Satan-worshipping Boris Karloff.

Trivia: Muscular actor William "Bill" Phillips attended George Washington University, where he distinguished himself in such contact sports as football and boxing. After cutting his acting teeth with Eva Le Galienne's Civic Repertory group, Phillips made his film debut in 1940. He landed a long-term MGM contract after registering well in a small role in See Here Private Hargrove (1944). By the 1950s, Phillips was typed as a Western actor, usually in such secondary roles as the barber in High Noon (1952). William "Bill" Phillips made his last appearance in the Ronald Reagan-Nancy Davis starrer Hellcats of the Navy (1957).

Trivia: Jonathan Haze was, for most of a decade, one of the most recognizable faces in the films of Roger Corman, as well as one of the most beloved members of Corman's stock company of players. Born in Pittsburgh, PA, in 1929, he was living in California and working at a gas station when, in 1954, a friend and customer, Wyott Ordung -- who was directing a picture called Monster From the Ocean Floor, the first movie produced by Corman -- offered him a small role in the movie, as a Mexican laborer. Billed as "Jack Hayes," he was as good as any of the more experienced players in the hastily shot sci-fi thriller, and while Corman and Ordung parted company as soon as the film wrapped, the producer liked Haze's work sufficiently to offer him more; Haze, in turn, brought an aspiring writer friend of his, Dick Miller, into Corman's orbit. Haze's next screen appearance was as an outlaw sent on a dangerous mission in the closing days of the Civil War, in Five Guns West (1955), which Corman directed as well as produced. Haze went on to appear in most (if not all) of Corman's movies over the next ten years, often playing wild and eccentric characters. A radiation-scarred victim of atomic attack in The Day the World Ended, a hapless soldier in It Conquered the World (1956), and a suspicious and libidinous chauffeur in Not of This Earth (1957) were some of his more visible parts. But it was in 1960 that he achieved stardom in Corman's Little Shop of Horrors. Well-meaning, not-too-bright flower shop assistant Seymour Krelboin, who breeds a man-eating plant, was the role of a lifetime, and Haze ran with it -- he brought to bear his best comedic instincts and carried the movie in tandem with Mel Welles as Seymour's employer, Gravis Mushnik, and Jackie Joseph as Seymour's would-be girlfriend, Audrey. Following Little Shop, Haze started moving into other areas of filmmaking. In 1961, he wrote the screenplay for the American International Pictures sci-fi spoof Invasion of the Star Creatures, and he later worked Corman's The Born Losers (1967) -- the movie that introduced Tom Laughlin's character Billy Jack. The following year, however, Haze moved into a whole different stratum of filmmaking with work on Haskell Wexler's Medium Cool (1969), among other films. In 1982, Jonathan Haze was seen fleetingly as the "Dapper Man" in the slapdash action flick Vice Squad.

Trivia: In films from 1929, mustachioed, businesslike actor Wheaton Chambers could frequently be found in serials, including Flash Gordon's Trip to Mars (1939), The Adventures of Red Ryder (1940), The Purple Monster Strikes (1945) and The Crimson Ghost (1946). In bigger budgeted pictures, he played more than his share of bailiffs, guards and desk clerks. In the 1951 sci-fi masterpiece The Day the Earth Stood Still, Chambers plays the jeweller who appraises Klaatu's (Michael Rennie) extraterrestrial diamonds. When he was afforded screen billing, which wasn't often, Wheaton Chambers preferred to be identified as J. Wheaton Chambers.

Trivia: Enjoying one of the longest screen careers on record, Irish-born, English-reared Al Ferguson became one of the silent era's busiest Western villains, his wolf-like features instantly recognizable to action fans everywhere. According to the actor himself, Ferguson had entered films with the American company as early as 1910, and by 1912, he was appearing in Selig Westerns under the name of "Smoke" Ferguson, often opposite action heroine Myrtle Steadman. In 1920, Ferguson played Hector Dion's henchman in the partially extant The Lost City, the first of more than 40 serials, silent and sound, in which he would appear. Still reasonably good-looking by the early '20s, Ferguson even attempted to become an action star in his own right, producing, directing, and starring in a handful of low-budget Westerns filmed in Oregon and released to the States' Rights market by Poverty Row mogul J. Charles Davis. None of these potboilers, which included The Fighting Romeo (1925), with Ferguson as a ranch foreman rescuing his employer's kidnapped daughter, made him a star, however, and he returned to ply his nefarious trade in low-budget oaters featuring the likes of Bob Steele and Tom Tyler. Today, Ferguson is perhaps best remembered as the main heavy in two Tarzan serials, Tarzan the Mighty (1928) and Tarzan the Tiger (1929), both starring Frank Merrill. The later survives intact and Ferguson emerges as a melodramatic screen villain at the top of his game.Like most of his contemporaries, including Bud Osborne and the silent era James Mason, Al Ferguson saw his roles decrease in stature after the advent of sound. Not because of his Irish accent, which had become all but undetectable, but mainly due to changing acting styles. Ferguson, however, hung in there and appeared in scores of sound Westerns and serials, not exclusively portraying villains but also playing lawmen, peaceful ranchers, townsmen, and even a Native American or two. By the 1950s, he had included television shows such as Sky King to his long resumé, but B-Westerns and serials remained Ferguson's bread and butter, the now veteran actor appearing in the cast of both Perils of the Wilderness (1956) and Blazing the Overland Trail (1956), the final chapter plays to be released in America.

Trivia: Actor John Beradino is best known for playing wise, beneficent Dr. Steve Hardy on the soap opera General Hospital since the show's inception in 1963 until a few months prior to his death in May 1996. His acting career began in childhood when he made a few appearances in the Our Gang comedies. Between 1937 and 1953, Bearding was a professional baseball player. Over his career as a second baseman and shortstop, he hit .249 and 387 RBI with 36 homers in 912 games with the St. Louis Browns, Cleveland Indians, and Pittsburgh Pirates. A knee injury forced his retirement and he returned to acting. Before landing his General Hospital role, Beradino guest starred on numerous series and was a regular on the short-lived cop show, The New Breed (1960-1961). As Dr. Hardy on GH, Beradino earned three Emmy nominations. In 1993, he was honored with a star on Hollywood's Walk of Fame.

Trivia: General purpose actor Lester Dorr kept himself busy in every size role there was in Hollywood, in a screen career lasting nearly 35 years. Born in Massachusetts in 1893, he was working on Broadway in the late 1920s, including the cast of Sigmund Romberg's New Moon (1928). The advent of talking pictures brought Dorr to Hollywood, where, working mostly as a day-player, he began turning up in everything from two-reel shorts (especially from Hal Roach) in the latter's heyday) to major features (including Michael Curtiz's Female and Raoul Walsh's The Bowery, both 1933), in which he usually had tiny parts, often in crowd scenes, with an occasional line or two of dialogue -- in the mid-1930s he was literally appearing in dozens of movies each year, though usually with scarcely more than a minute's screen time in any one of them. Dorr was also one of the founding members of the Screen Actors Guild.He was almost as busy after World War II, and starting in 1951 he also started working in television, ranging from westerns to anthology series. He slowed down significantly in the 1960s, by which time he was in his seventies. Among his rare screen credits are two of his most oft-repeated large- and small-screen appearances -- in W. Lee Wilder's Killers From Space, the public domain status of which has made it a ubiquitous presence on cable television and low-priced VHS and DVD releases, he is the gas station attendant who spots fugitive scientist Peter Graves' car; and in The Adventures of Superman episode The Mind Machine, repeated for decades as part of the ever-popular series, Dorr plays the hapless but well-intention school bus driver whose vehicle (with three kids inside) is stolen by mentally unhinged mob witness Harry Hayden. His last three appearances were in full-blown feature films: Richard Quine's Hotel (1967), Gene Kelly's Hello Dolly (1969), and Peter Bogdanovich's At Long Last Love (1975).