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: From stage to screen to recording studios, Lonette McKee has worked as both an actress and vocalist. Although actors who also sing have been a dime a dozen since the earliest days of stage and cinema, McKee's groundbreaking performance as the first African-American actress to portray the character of Julie in a major American production of Show Boat would have earned her a place in entertainment history even if she hadn't gone on to earn Image Award nominations for her roles in To Dance With Olivia (1997) and As the World Turns. A Motor City native, McKee kicked off her career in the entertainment industry when she became a recording artist in her hometown as a young teen, releasing an album on the Detroit-based Sussex label before being drawn to the screen in the mid-'70s. Cast in a key role in the 1976 musical drama Sparkle, McKee made an impression as a drug-addicted singer in a Supremes-like band, and she quickly caught the eye of casting agents. Appearing in such features as The Cotton Club and Brewster's Millions during the '80s, it was also during this period that she essayed her Tony-nominated role in Show Boat. Spike Lee later cast her in three of his films during the '90s: Jungle Fever, Malcolm X, and He Got Game. After being voted one of People magazine's "50 Most Beautiful People in the World" in 1995, McKee began a two-year stint on the soap opera As the World Turns. She also returned to the studio in 1992 to record Natural Love, her first album in nearly 20 years. The actress alternated between film and television in the early 2000s with parts in Men of Honor (2001), Honey (2003), and a recurring role in the NBC series Third Watch. McKee is married to a New York social worker and is the sister of dancer/actress Kathrine McKee.

Trivia: Having worked steadily through the '70s on television and in blaxploitation films, African-American actress Margaret Avery did not become a star until she was cast as Shug in Steven Spielberg's adaptation of The Color Purple (1985), a performance that won her a nomination for Best Supporting Actress. Though the quality of her films briefly improved, her stardom was only fleeting and she returned to less visible work.

Trivia: Rough-edged character actor Morgan Woodward is the son of a Texas physician. Specializing in Westerns, the 6'3" Woodward has been seen in scores of big-screen oaters, and in 1956 held down the semi-regular role of Shotgun Gibbs in the TV series The Life and Legend of Wyatt Earp. He has also made quite a few non-Western appearances on such video weeklies as Star Trek and The A-Team. In his spare time, Morgan Woodward is a licensed pilot.

Trivia: African American actress Gloria Edwards was primarily active in theater and on television, but she also worked in a few films including 1972's Black Girl, a reprisal of a role she made famous on stage. Edwards served as the vice president of the Black Women in Theater West.

Trivia: At the outset of the 1970s, a teenaged DeWayne Jessie had a promising start to an acting career, just at the point when gifted young black performers were getting more work than ever before. But after eight years of steady screen work and small but enlarging supporting roles, he was sidetracked by a part so unexpectedly big in a movie so unexpectedly successful, that in the 25 years since, he's only appeared in five more movies, but never lacked for work as a performer on-stage, growing out of that movie. In 1978, Jessie was cast in National Lampoon's Animal House in the role of Otis Day, leader of Otis Day & the Knights, who are seen performing "Shout" and "Shama Lama Ding Dong" in two key scenes -- ever since then, like Clayton Moore donning the mask of the Lone Ranger in 1949 and never getting too far from it, DeWayne Jessie has worked regularly as the leader of Otis Day & the Knights. Ironically, Jessie's most prominent role before National Lampoon's Animal House was probably in The Bingo Long Traveling All-Stars and Motor Kings, in which he played Rainbow, a ball player in the Negro Leagues who is mute. Born in 1953, Jessie made his screen debut at age 17 as a high-school student who is unable to read in the topical drama Halls of Anger (1970), directed by Paul Bogart and starring Jeff Bridges. He had an uncredited role in The New Centurions (1972) and bounced between television and films over the next few years, guest starring in episodes of series such as Love American Style, Kojak, Starsky and Hutch, and Laverne & Shirley, interspersed with small feature roles in Darktown Strutters, Car Wash, and Fun With Dick and Jane. The Bingo Long Traveling All-Stars and Motor Kings earned him good reviews for a portrayal as poignant as it was inspiring, and earned Jessie an Image Award from the NAACP as Best Supporting Actor. In 1978, he appeared in two movies, one the abominable Thank God It's Friday and the other National Lampoon's Animal House (which earned over 70 million dollars on its first-run release), playing Otis Day, a part that he almost turned down. Within weeks of the movie's opening, he was seeing positive repercussions from his performance, despite the fact that one of his two featured songs, "Shama Lama Ding Dong," was dubbed using the voice of singer Lloyd Williams -- the actor's main contribution in his all-important second scene was his physical presence and the announcement, "It feels so good to be back here at the Dexter Lake Club. We'd like to do a tune entitled "Shama Lama Ding Dong." So hit it." But he looked so good doing it, and fronting the band (which included a young, pre-stardom Robert Cray), that he started getting offers to perform as Otis Day. It took a little time before Jessie actually took the Otis Day & the Knights show on the road, but by 1982, he was a top attraction at frat dances, college-town clubs, and other venues catering to students who'd seen or knew of the movie -- and there were tens of millions of them. Twenty-one years later (a testament to the movie's lingering appeal and constant renewal of its audience, as well as Jessie's skills as a performer), he was still at it, even appearing at B.B. King's in New York. He's been working on-stage as Otis Day longer than he worked onscreen as DeWayne Jessie -- his last movie role was in D.C. Cab in 1983, 13 years into his career. But he made it into the documentary accompanying the 2003 DVD re-release of Animal House, playing (surprise) Otis Day.

Trivia: Businesslike character player Dolph Sweet attended college both in his native New York and in Alabama. He went on to teach English and direct plays at Barnard College. Even after achieving prominence as a Broadway actor, Sweet kept his hand in directing, helming some two dozen plays. In films since 1961's The Young Doctors, Sweet received some of his best reviews for his performance as a nonplussed cop in the 1968 cult favorite You're a Big Boy Now. Extremely busy on television, Sweet spent four years in the role of Lt. Gil McGowan on the daytime drama Another World. It was for another law-enforcement role, police chief Carl Kaninsky in the 1980s sitcom Gimme a Break, that Dolph Sweet is best remembered; he essayed this role from 1981 until his death in 1985, an occasion marked by a heartfelt "tribute" episode.

Trivia: Luis Valdez has spent the bulk of his career using plays and film to raise consciousness and campaign for the rights of Latinos in the United States. Of Mexican-American heritage, Valdez spent much of his youth as a migrant worker. Following graduation from San Jose State University where he studied theater, Valdez worked with the San Francisco Mime Troupe. With them, he went on a cultural exchange trip to Cuba. In 1965, Valdez teamed up with Cesar Chavez and the United Farmworkers to found "El Teatro Campesino," a theater group designed to educate audiences and to promote the grape boycott. To this end, he staged short vignettes to dramatize the dreadful living and working conditions suffered by exploited migrant workers. He remained with the troupe through the late '70s when he penned the musical drama Zoot Suit (1978), a look at the racism inherent in the notorious Sleepy Lagoon case that rocked Los Angeles in the early '40s. In 1981, he filmed the production and earned critical acclaim. Valdez is probably best known for his sophomore effort, La Bamba, a biopic chronicling the brief life of 1950s pop star Richie Valens that examined the effects of a cross-cultural upbringing of a talented youth.

Trivia: Known primarily for her roles in such cult films as Andy Warhol's Heat (1972) and Reform School Girls (1986), rotund actress Pat Ast was also a model for fashion designer Roy Halston despite the fact that she weighed over 200 pounds. A New York native whose father was a popular comic in the Catskills, Ast attended Erasmus High School in Brooklyn, NY, (graduating the same year as classmate Barbra Streisand) and later found work as a receptionist in a box factory. Appearing in Warhol's Heat after making friends with the eccentric artist, Ast later met Halston and worked in his Madison Ave. store in addition to her modeling stint. Moving to Los Angeles in the mid-'70s, Ast would turn up in such features as Foul Play (1978), The Incredible Shrinking Woman (1981), and Homer and Eddie (1989). On October 2, 2001, Ast died of natural causes in her West Hollywood home. She was 59.

Trivia: Tall, deceptively distinguished-looking Tim Thomerson first gained attention as a comedian, and it was in this capacity that he was hired as an ensemble player for the 1976 Bill Cosby TV variety series Cos. That same year, Thomerson made his first film appearance as Ken in Car Wash (1976). He made several additional movies under the watchful eye of producer/director Robert Altman. Latter-day filmgoers will recognize Thomerson as the Bogartlike adventurer Jack Deth in the three Trancers movies, and also as Brick Bardo in the brief Doll Man cinema series. In the final analysis, Thomerson is probably best known for his prolific TV-series work. He played lascivious hairstylist Gianni in Angie (1979), horny mailboy Johnny Danko in The Associates (1979), egotistical Regis Philbin takeoff Reggie Cavanaugh in The Two of Us (1981), bumbling bandit Theodore Ogilvie in Gun Shy (1983), philosophical derelict Jerry in Down and Out in Beverly Hills (1987), and Sgt. James "Buddy" Zunder, confined to a desk job because of his irregular heartbeat, in the first two seasons of Sirens (1993-96). Video cultists are fondest of Tim Thomerson's fascinatingly funny portrayal of transmuted male-female Gene/Jean on the brief sci-fi spoof Quark (1978).

Trivia: American actor Victor Argo was principally a stage performer, both in New York and in regional repertory, when he tentatively began his film work in the 1970s. Early Argo movie credits include 1972's Boxcar Bertha and the 1975 Martin Scorsese production Mean Streets. In the late 1980s, Argo enjoyed a burst of movie activity, though thanks to location shooting he didn't have to leave Manhattan too often. The actor was seen as Roy Bishop in King of New York (1987), Avram in Her Alibi (1989), a cop in New York Stories (1989). Woody Allen utilized Argo in two films, Crimes and Misdemeanors (1988) (as a detective) and Shadows and Fog (1990). Rare non-New York film productions featuring Victor Argo have included McBain (1988), in which he played "El Presidente," and the controversial Last Temptation of Christ (1988) in which Argo portrayed Peter Apostle. And in early 1989, Victor Argo had weekly work as Anthony Coltrera on the New Jersey-based TV series Dream Street. His 1990s film credits included a major role in Smoke (1995) and its sequel Blue in the Face (1996) and Next Stop Wonderland (1998).

Trivia: Supporting actor Ted Markland frequently played heavies, thugs, bikers, and other misanthropic characters. He began his film career with a small role in The Hallelujah Trail (1965).

Trivia: American actor, singer, and dancer Ralph Montgomery played character roles in vaudeville, radio, and television. Montgomery also appeared in numerous feature films from the '40s through the mid-'70s. In addition to performing, he also worked as a drama coach. His daughter is an actress and his son, Phil Montgomery, is an actor and producer.

Trivia: Bald, lanky, laconic American actor Hank Worden made his screen debut in The Plainsman (1936), and began playing simpleminded rustics at least as early as the 1941 El Brendel two-reel comedy Love at First Fright. A member in good standing of director John Ford's unofficial stock company, Worden appeared in such Ford classics as Fort Apache (1948) and Wagonmaster (1950). The quintessential Worden-Ford collaboration was The Searchers (1955) wherein Worden portrayed the near-moronic Mose Harper, who spoke in primitive, epigrammatic half-sentences and who seemed gleefully obsessed with the notion of unexpected death. Never a "normal" actor by any means, Worden continued playing characters who spoke as if they'd been kicked by a horse in childhood into the '80s; his last appearance was a recurring role in the quirky David Lynch TV serial Twin Peaks. In real life, Hank Worden was far from addled and had a razor-sharp memory, as proven in his many appearances at Western fan conventions and in an interview program about living in the modern desert, filmed just before Worden's death for cable TV's Discovery Channel.

Trivia: British director George More O'Ferrall started out in the early '30s as an assistant director. He became a feature filmmaker in the early '50s and after that became a television director.

Trivia: American actor Joe Turkel had at least one movie leading role, as the Genie in the 1961 kiddie-matinee feature The Boy and the Pirates. Otherwise he seldom rose any farther than featured billing (sometimes, as in Harold and Maude [1971], he got no billing at all). In films since the late '40s, Turkel essayed character parts in such productions as City Across the River (1949), Visit to a Small Planet (1959), The Sand Pebbles (1966), Hindenberg (1977) and Blade Runner (1980) (as Tyrrell); though firmly entrenched in Hollywood, he occasionally grabbed a quick paycheck in such exploitation flicks as Savage Abduction (1975), which afforded him star billing if not a whole lot of prestige. Joe Turkel is best remembered by "auteur" critics for his appearances in the films of director Stanley Kubrick: He played Tiny in The Killing (1955), Private Arnaud in Paths of Glory (1957), and the other-worldly bartender Lloyd in The Shining (1978).