Trivia: Born Leonard Slye, Rogers moved to California as a migratory fruit picker in 1929. He formed a singing duo with a cousin, later changing his name to Dick Weston and forming a singing group, the Sons of the Pioneers; the group became successful, and appeared on Los Angeles radio and later in films. In 1935 he began appearing in bit roles in Westerns onscreen; by the early '40s Rogers had succeeded Gene Autry as "King of the Cowboys." His success was aided by the fact that Autry went to war and Rogers didn't; he also copied Autry's singing cowboy formula and wore clothes that went one better than Autry's ostentatiously fancy duds. Through the early '50s he starred in dozens of Westerns, often accompanied by his horse, Trigger (billed "the smartest horse in the movies"), and his sidekick, Gabby Hayes; his female lead was often Dale Evans, whom he married in 1947. From 1951-57 he starred in the TV series "The Roy Rogers Show." Meanwhile, he formed a chain of enterprises in the '50s; eventually this combination (a TV production company, Western products distributor/manufacturers, real estate interests, cattle, thoroughbred horses, rodeo shows, and a restaurant chain) was worth over $100 million.

Trivia: American singer/actress Dale Evans took a stenographer's job while seeking out singing work. A widow at 17, she became a radio and nightclub songstress, married again and set out to try her luck in Hollywood. Few good parts came her way at the major studios (she is barely visible in 20th Century-Fox's Orchestra Wives [1942], which featured an equally unbilled Jackie Gleason), so she had to settle for leading roles at Republic Studios, a "B" factory. She wasn't keen on westerns, but westerns were what she got, co-starring in 20 oaters with Republic's Number One singing cowboy, Roy Rogers. It wasn't until Rogers' first wife died in the late '40s that he and Evans realized that theirs was more than just a happy professional association. Rogers and Evans were married in 1947, assuming the honorary mantle of "King of the Cowboys and Queen of the West;" it was Evans who wrote the couple's enduring theme song, "Happy Trails to You." The Rogers starred together in two TV series, a standard weekly western in the 1950s and an ABC variety show in 1962; in the early '80s, Evans soloed as host of a long-running syndicated religious talk show. Rogers and Evans' marriage was sorely tested by multiple tragedies; of Evans' six children, one was mentally retarded and only three survived past the age of 21. Evans was strengthened by the solidarity of her marriage and by her unwavering religious convictions. To help others to cope with anguish, she has written several uplifting books about the travails and triumphs of her life. She has also been quite active in her pet cause, the prevention of child abuse. In the mid-'90s Dale Evans was in the process of recovering from a serious illness, and resuming her religious and charitable activities.

Trivia: Strappingly handsome leading man Grant Withers worked as an oil company salesman and newspaper reporter before he turned to acting in 1926. One of the more popular second echelon stars of the early '30s, Withers was unable to sustain his celebrity. By the end of the 1930s, Withers was pretty much limited to character roles and bits, with such notable exceptions as the recurring role of the brash Lt. Street in Monogram's Mr. Wong series. In 1930, Withers eloped with 17-year-old actress Loretta Young, but the marriage was later annulled. Some of Withers' later screen appearances were arranged through the auspices of his friends John Ford and John Wayne. Grant Withers committed suicide in 1959, leaving behind a note in which he apologized to all the people he'd let down during his Hollywood days.

Trivia: A master at abrasive and intrusive old-codger roles, George Cleveland enjoyed a 58-year career in vaudeville, stage, movies and television. Spending his earliest professional days in his native Canada, Cleveland barnstormed around the U.S. with his own stock company until settling in New York. He came to Hollywood in 1934 for an assignment in the Noah Beery Sr. programmer Mystery Liner and remained in Tinseltown for the next two decades. At first appearing in small roles in serials and westerns, Cleveland's screen time increased when he signed with RKO in the early 1940s. In the Fibber McGee and Molly feature Here We Go Again, Cleveland essayed the "Old Timer" role played on radio by Bill Thompson (who also showed up in Here We Go Again in another of his radio characterizations, Wallace Wimple). Other choice '40s assignments for Cleveland included the role of Paul Muni's faithful butler in Angel on My Shoulder (1946), and featured parts in two Abbott and Costello comedies, 1946's Little Giant (as Costello's uncle) and 1947's Wistful Widow of Wagon Gap (as a corrupt western judge). George Cleveland appeared on TV as a befuddled postman on the forgettable 1952 sitcom The Hank McCune Show; a far more memorable assignment was his three-year gig as Gramps on the Lassie series, which kept Cleveland busy until his sudden death in the spring of 1957.

Trivia: Actor Stanley Andrews moved from the stage to the movies in the mid 1930s, where at first he was typed in steadfast, authoritative roles. The tall, mustachioed Adrews became familiar to regular moviegoers in a string of performances as ship's captains, doctors, executives, military officials and construction supervisors. By the early 1950s, Andrews had broadened his range to include grizzled old western prospectors and ageing sheriffs. This led to his most lasting contribution to the entertainment world: the role of the Old Ranger on the long-running syndicated TV series Death Valley Days. Beginning in 1952, Andrews introduced each DVD episode, doing double duty as commercial pitchman for 20 Mule Team Borax; he also became a goodwill ambassador for the program and its sponsor, showing up at county fairs, supermarket openings and charity telethons. Stanley Andrews continued to portray the Old Ranger until 1963, when the US Borax company decided to alter its corporate image with a younger spokesperson -- a 51-year-old "sprout" named Ronald Reagan.

Trivia: Best known as cowboy Roy Rogers' comical sidekick, Pat Brady was the son of traveling performers, and first set foot on-stage at the age of four. From the moment he was featured in a road-show production of Mrs. Wiggs of the Cabbage Patch, he was hooked on showbiz for life. While appearing as a bass guitarist in California in 1935, Pat struck up a friendship with a young country & western singer named Leonard Slye, a member of the popular Sons of the Pioneers. When Len Slye was elevated to screen stardom as Roy Rogers, he recommended Brady as his replacement in the Sons aggregation. Making the transition to films himself in 1937, Brady played comedy relief in several of the Charles Starrett Westerns at Columbia. In the early '40s, he moved to Republic, where he played zany camp cook Sparrow Biffle in the Roy Rogers vehicles. When Rogers moved to television in 1951, he took Brady with him. Now billed as "himself," Brady enlivened well over 100 episodes of The Roy Rogers Show, happily (and anachronistically) tooling about the sagebrush at the wheel of his faithful jeep "Nellie-Belle." Long after the cancellation of the weekly series, Brady continued his association with Rogers on TV and in personal appearances; he also rejoined the Sons of the Pioneers in 1959, as a replacement for the defecting Shug Fisher. By the mid-'60s, Brady's acting career began to decline. His last professional engagement was as advance man for a Colorado retail furniture store. In February of 1972, Pat Brady checked himself into the Ark, an alcoholic rehabilitation center in Green Mountain Falls, CO; one day later, Brady was dead at the age of 58.

Trivia: With his slight built, narrow face and pencil-thin mustache, I. Stanford Jolley did not exactly look trustworthy, and a great many of his screen roles (more than 500) were indeed to be found on the wrong side of the law. Isaac Stanford Jolley had toured as a child with his father's traveling circus and later worked in stock and vaudeville, prior to making his Broadway debut opposite Charles Trowbridge in Sweet Seventeen (1924). Radio work followed and he arrived in Hollywood in 1935. Pegged early on as a gangster or Western outlaw, Jolley graduated to playing lead henchman or the boss villain in the '40s, mostly appearing for such poverty-row companies as Monogram and PRC. Although Jolley is often mentioned as a regular member of the Republic Pictures' stock company, he was never under contract to that legendary studio and only appeared in 25 films for them between 1936 and 1954. From 1950 on, Jolley worked frequently on television and remained a busy performer until at least 1976. According to his widow, the actor, who died of emphysema at the Motion Picture Country Hospital, never earned more than 100 dollars on any given movie assignment. He was the father of art director Stan Jolley.

Trivia: Tall, muscular Gordon Jones played heroes, villains, comic-relief second bananas, and just about everything in between, in a screen career lasting almost 30 years -- not bad for a fellow who, eight years into that career, admitted to a reporter that he was still learning about acting. Born in 1911, Jones came to movies in his early twenties, not out of any aspirations as an actor but on the basis of his good looks and athletic build. The brawny Iowa-born Jones was well known as a top student athlete and star football guard ("Bull" Jones) at U.C.L.A., and had also played a few seasons of professional football. Jones started doing movie work for the easy money, and got serious about acting when he found that he liked it; he soon began downplaying his football background so that casting agents would take him more seriously. Jones started out playing small roles in Wesley Ruggles' and Ernest B. Schoedsack's The Monkey's Paw and Sidney Lanfield's Red Salute, and by 1937, he had moved on to a contract at RKO. His biggest screen role in terms of billing came in 1940, in the Universal serial The Green Hornet, where he portrayed publisher Britt Reid, the alter ego of the masked hero of the title; Jones also played the Hornet, but when he was in that guise, he was redubbed with the voice of the era's more familiar radio Green Hornet, Al Hodge. Jones had gained some stage experience, particularly in comedy, during the late '30s, and this stood him in good stead when he auditioned for a role in Max Gordon's Broadway adaptation My Sister Eileen while on a visit to New York; the "rambling wreck from Georgia Tech" (billed as the Wreck in the original program) was the role of a lifetime, giving Jones the chance to play exactly what he was, a lovable big lug. He was good enough in the part to repeat it in Alexander Hall's 1942 movie version, produced by Columbia Pictures. Jones wasn't able to follow up on his success in the film, however, due to the outbreak of the Second World War. The actor held a reserve commission in the army and he was called into the service very soon after finishing work on the movie. In contrast to some actors, however (such as Ronald Reagan, who felt war service had damaged his career and resented it deeply), Jones never complained and, indeed, was very active for the next 20 years of his life in encouraging college students to consider the Reserve Officers Training Corps (ROTC). One of his other key roles during 1942 was as Alabama Smith, John Carroll's slightly dim-witted but good-natured sidekick, in Flying Tigers (1943), a John Wayne-starring vehicle that was one of the most popular action films of the war. This picture began Jones' 20-year onscreen association with Wayne, who was also (perhaps not coincidentally) a former football player from U.C.L.A. After resuming his acting career in the late '40s, Jones appeared in prominent roles in the John Wayne features Big Jim McLain and Island in the Sky. By the end of the 1940s, Jones had aged into a somewhat beefier screen presence and into very physical character roles. He would no longer have been considered a leading man, even in serials, but he had developed a very good, slightly over-the-top comic villain persona, strongly reminiscent of Nat Pendleton, Joseph Sawyer, or William Bendix. All of these attributes meshed well with the work of the comedy team of Bud Abbott and Lou Costello; Jones' association with the duo began in The Wistful Widow of Wagon Gap (1947) with the role of the film's heavy, Jake Frame. During the early '50s, when they began their television series The Abbott & Costello Show, Jones was cast as Mike the cop, the hulking, loud-voiced antagonist to the roly-poly Costello (and, thus, succeeded Pendleton, Sawyer, and Bendix, who had played tough, burly foils to the duo in the movies Buck Privates, Buck Privates Come Home, The Naughty Nineties, and Who Done It). The program was only in production for two seasons, but was rerun regularly into the 1980s and became available on DVD in the 21st century, and, thus, has ensured Jones a permanent place in American popular culture. He remained busy in films and on television throughout the 1950s, in pictures as different as the sci-fi chiller The Monster That Challenged the World and the Tony Curtis/Janet Leigh sex comedy The Perfect Furlough, and on series ranging from The Real McCoys to The Rifleman. Jones also appeared in two very successful Disney movies during the early '60s, The Absent-Minded Professor and Son of Flubber, portraying harried school coaches in both pictures. He returned to the John Wayne stock company portraying Douglas, the bureaucrat antagonist to Wayne's G.W. McLintock in the Western comedy McLintock, in the spring of 1963. Jones succumbed to a heart attack on June 20, 1963, five months before the release of that movie. He is remembered, however, by millions of Abbott and Costello and John Wayne fans, and also for his work in serials, and he is given a special mention -- in connection with The Green Hornet -- on the home page of the town of his birth, Alden, IA.

Trivia: From his appearance as Humphrey Bogart's son in the Casablanca follow-up A Passage to Marseille to his career as the writer of films including They Saved Hitler's Brain (1968), actor-turned-screenwriter Gerald Perreau-Saissine's (aka Peter Miles) tenure in film and television provided audiences with both memorable characters and intriguing stories. Born in Tokyo and raised in Los Angeles, Saissine made his feature debut as a baby in Murder Will Out (1939). Saissine would appear in such features as Heaven Only Knows (1947), Special Agent (1949), and Quo Vadis? (1951) throughout the 1950s before making his screenwriting debut with the sci-fi-thriller Madmen of Mandoras (aka They Saved Hitler's Brain) in 1963. Frequently appearing onscreen with sister Gigi Perreau, the siblings remained in close contact with producer Samuel Goldwyn, who would later present Saissine with two Samuel Goldwyn writing awards. In addition to his film work, Saissine published novels and poetry; he also created numerous catalogues of Japanese woodblock print artists and curated their shows at such locations as the Pacific-Asia Museum in Pasadena and the Honolulu Academy of Arts. On August 3, 2002, Gerald Perreau-Saissine died of cancer in his Los Angeles home. He was 64.

Trivia: In time-honored Hollywood tradition, cowboy star Roy Rogers' golden palomino Trigger underwent a name change when he ascended to stardom. Sired from a racehorse, the flaxen-maned stallion was born Golden Cloud, making his film debut as Olivia De Havilland's horse in The Adventures of Robin Hood (1938). Purchased by Rogers in 1938, the palomino was renamed Trigger by Rogers's movie sidekick, Pat Buttram. Trigger's first appearance with Rogers was in Under Western Skies, the first of his 87 starring appearances. In his last theatrical feature, the Bob Hope vehicle Son of Paleface (1952), Trigger was billed as "The Smartest Horse in the Movies," proving the veracity of that statement by sharing a sidesplitting hotel room scene with Hope. Trigger's career was far from over when he left films: he went on to co-star in four seasons of TV's The Roy Rogers Show and continued to make personal appearances with Roy Evans and Dale Evans into the late '50s. He also enjoyed the attentions of a worldwide fan club, affixing his "autograph" to many an 8 X 10 glossy.