Trivia: Sidney Poitier was to Hollywood what Jackie Robinson was to major league baseball: simply put, the man who broke the color barrier. An actor, director, and producer, he forever altered the racial perceptions long held by both motion picture audiences and executives, rising to superstar status in an industry forever dominated on both sides of the camera by whites while becoming the first African-American ever to take home an Oscar for Best Actor. Born February 20, 1927, in Miami, FL, Poitier grew up in poverty in the British West Indies. After quitting school at the age of 13, he later joined the U.S. Army, serving in World War II as a medical assistant. Upon his release from duty he relocated to New York City, where he auditioned for the American Negro Theater. When his heavy Bahamian accent prompted laughter from producers, Poitier spent the next six months honing his elocution skills, practicing his enunciation by repeating radio routines, and finally gaining admission to the theatrical troupe's ranks after his second audition.Handsome and athletic, Poitier made his Broadway debut in 1946 in an all-black production of Lysistrata, and moved into films four years later with No Way Out. His impressive turn in 1955's gritty The Blackboard Jungle brought him closer to stardom, and in 1958 he earned his first Academy Award nomination opposite Tony Curtis in Stanley Kramer's social drama The Defiant Ones. The film's focus on racial politics, as well as his increasing popularity with audiences of all racial backgrounds, solidified Poitier's standing as a key figure in the burgeoning civil rights movement, as roles in features including 1959's Porgy and Bess and 1961's Raisin in the Sun established him as the premier black actor of his generation. For 1963's The Lilies of the Field, he made history as the first African-American actor to win an Oscar in a leading role, and with the mainstream success of 1965's A Patch of Blue and 1967's To Sir, With Love, his ascent to superstardom was complete. Much to his credit, Poitier continued to make racially provocative films; in 1967 he appeared in Kramer's Guess Who's Coming to Dinner as the black fiancé of a white woman, while in the same year's Best Picture-winning In the Heat of the Night, he starred as a Philadelphia police detective facing prejudice while investigating a murder in the Deep South. In 1969, Poitier founded the First Artists Production Company, and in 1972 -- at the peak of the blaxploitation era which his earlier success made commercially viable -- announced his directorial debut with Buck and the Preacher. He directed and starred in his next three films (1973's Warm December, 1974's Uptown Saturday Night, and 1975's Let's Do It Again) before starring in Ralph Nelson's 1975 South African political thriller The Wilby Conspiracy, after which he returned to the director's chair with 1977's A Piece of the Action.After directing the 1980 comedy Stir Crazy, Poitier began to decrease his workload; he helmed two more features, 1982's Hanky Panky and 1984's Fast Forward, but then disappeared from filmmaking for the next several years. In 1988, Poitier appeared onscreen for the first time in over a decade in Roger Spottiswoode's thriller Shoot to Kill, followed by a supporting turn in the espionage drama Little Nikita. Upon directing 1990's disastrous Bill Cosby comedy Ghost Dad, he starred as Supreme Court Justice Thurgood Marshall in the television feature Separate But Equal, and in 1992 appeared in the star-studded Sneakers. After another extended absence, Poitier returned in 1995 in the TV movie Children of the Dust, and in 1996 he starred in the long-awaited follow-up to his '67 success To Sir With Love, TV's To Sir With Love 2.A frequent author in addition to his acting, Poitier's book Life Beyond Measure: Letters to My Great-Granddaughter was published in 2008, and the following year he was awarded the Presidential Medal of Freedom.

Trivia: African-American entertainer Bill Cosby, in his own words, "started out as a child," the son of an eight-dollars-a-day maid and an absentee father. A product of grinding poverty, Cosby escaped his rundown Philadelphia neighborhood by dropping out of high school and joining the navy. He earned his diploma via correspondence course, then earned a football scholarship to Temple University. Working nights as a bartender, Cosby discovered he had the ability to make people laugh, so he temporarily shelved his plans to become an athletics teacher and set out to become a nightclub comedian. Most black comics of the era used the race issue in their act; this didn't quite work for Cosby, but relating humorous reminiscences about himself and his childhood buddies worked beautifully. After numerous TV guest shots and several top-selling, Grammy Award-winning record albums, Cosby was signed by producer Sheldon Leonard to co-star with Robert Culp in a weekly TV espionage series, I Spy. This was an era of acute racial tension; many NBC executives were wary about a black leading man, and quite a few Southern affiliates threatened not to run the show, but Leonard, a street scrapper from way back, refused to back down. I Spy was a hit, earning Cosby an Emmy. As the series progressed, the camaraderie between Cosby and Culp deepened, and by the end of the series, Culp was talking and ad-libbing in the same low-key, offbeat cadence that Cosby had adopted for his club appearances! After I Spy, Cosby signed a sweetheart deal with NBC, which guaranteed him a two-year run on his next program, whether the ratings were good or not. The Bill Cosby Show cast the star as high school coach Chet Kincaid, and was unusual for the time in that it was a sitcom minus a laughtrack. At times it was a sitcom minus laughs as well, but NBC had made its promise, and Cosby did his best. In the '70s he teamed with actor/director Sidney Poitier to make a trio of popular crime/comedy features: Uptown Saturday Night, Let's Do It Again, and A Piece of the Action. Viewers who think of Cosby in terms of one success after another have forgotten such failed 1970s TV projects as The New Bill Cosby Show and Cos. On the opposite end of the spectrum, there was The Cosby Show, the eight-season wonder that single-handedly rescued the sitcom format from oblivion in 1984 and enabled the woebegone NBC network to crack the Number One slot in the ratings week after week. And there were guest spots on the award-winning children's show The Electric Company and Fat Albert and the Cosby Kids (1969-84) a superlative Saturday morning cartoon show supervised by Cosby that managed to be what is now called "prosocial" without losing any of the fun. He has also been the long-time commercial spokesman for Jell-O. In the fall of 1996 Cosby returned to prime time TV with yet another The Cosby Show sitcom, again set in New York City and co-starring Phylicia Rashad. Although The Cosby Show became made him arguably the most famous person in the country, he could not capitalize that rush of fame into a film career choosing to make a series of box office bombs including Leonard Part 6 and Ghost Dad. He created yet another TV show, The Cosby Mysteries, and shepherded a successful animated chilsdren's series, Little Bill, to screens in 2001. He appeared in the big-screen version of Fat Albert in 2004.

Trivia: James Earl Jones is a distinguished African American actor instantly recognizable for his deep, resonant Shakespearean voice and wide smile. The son of prizefighter and actor Robert Earl Jones, he was raised on a farm. In college, he briefly studied medicine but switched to drama. After serving with the Army he enrolled at the American Theater Wing in New York. He made his Broadway debut in 1957, then went on to appear in many plays before spending several seasons with Joseph Pap's New York Shakespeare Festival. Jones' biggest success onstage was as the star of The Great White Hope on Broadway (1966-68); for his work (portraying heavyweight champion Jack Jefferson) he received a Tony award. He had a small part in Stanley Kubrick's Dr. Strangelove (1964), but did not begin to appear onscreen much until the '70s. In addition to stage and occasional film work, he also appeared as an African chieftain in the TV series Tarzan and was one of the first black actors to be cast as a regular on the soap opera The Guiding Light in 1967. Reprising his stage role, he received a Best Actor Oscar nomination and won a Golden Globe award for his work in the screen version of The Great White Hope (1970) and went on from there to have a busy screen career. He starred in the TV series Paris in 1979-80. Beginning in 1977, he provided the melodiously wicked voice of the villainous Darth Vader in the three Star Wars films. Since then he has continued to appear on screen (over 40 films to date), stage, and television. He also continues to provide voiceovers (he can frequently be heard on the CNN television network). His portrayal of the grouchy, reclusive writer opposite Kevin Costner in Field of Dreams (1989) is among his most notable turns. In 1987 he won another Tony Award, this time for his portrayal of a frustrated baseball player in August Wilson's Fences. Most recently, Jones provided the voice for Mufasa, the regal patriarch in Disney's animated film The Lion King (1994).

Trivia: A graduate of the University of Michigan, actress Denise Nicholas made her first off-Broadway appearance in the 1966 revue Viet Rock. She later appeared in such New York productions as Ceremonies in Dark Old Men and Dame Lorraine, and was active with the Free Southern Theater and the Negro Ensemble Company. She co-starred with Bill Cosby in a number of films, including Let's Do It Again (1975), A Piece of the Action (1977), and Ghost Dad (1990). Nicholas was been a regular on three TV series, playing guidance counselor Liz McIntyre in Room 222 (1969-1974), for which she received three Golden Globe nominations; Olivia Ellis in Baby, I'm Back (1978); and Harriet De Long in In the Heat of the Night (1988-1994). She later starred as an alcoholic mother in domestic drama Ritual (2000). Nicholas is also author of The Denise Nicholas Beauty Book.

Trivia: Leading lady Tracy Reed received her first major professional break when she was hired as one of the ensemble players for the 1969 TV anthology Love, American Style. This led to Reed's being cast as Corey Bratter in the all-black, weekly-series version of Neil Simon's Barefoot in the Park (1970). Two decades later, she co-starred as Charlotte Anderson in Knot's Landing (1990-91). In between her series assignments, Tracy Reed appeared in several theatrical and made-for-TV movies; she owns the dubious distinction of having played opposite both Bill Cosby (in 1978's Top Secret) and O.J. Simpson (in 1983's Cocaine and Blue Eyes). Tracy Reed should not be confused with the British actress of the same name.

Trivia: Earthy Greek-American character actor Titos Vandis was well represented by his short but meaty roles in two Jules Dassin films, Never on Sunday (1960) and Topkapi (1964). Vandis was a familiar Broadway presence, appearing in such scene-stealing parts as a reincarnation expert in Alan Jay Lerner's On a Clear Day You Can See Forever (1965). In American films, Vandis is best remembered for a brace of mid-1970s appearances. In Woody Allen's Everything You Always Wanted to Know About Sex (1972), Titos Vandis played the psychiatric patient with an unnatural attachment to his pet sheep, while in The Exorcist (1974), he was seen as the uncle of the unfortunate Father Karras (Jason Miller).

Trivia: A co-founder of the Negro Ensemble Co., character actress Frances Foster spent most of her career on stage, but also occasionally appeared on the screen and on television. She made her film debut in Philip Leacock's Take a Giant Step (1959). In the '90s, Foster appeared in three Spike Lee films, Malcolm X (1992), Crooklyn (1994) and Clockers (1995). Her television work includes appearances on soap operas such as All My Children and Ryan's Hope. Foster was born in Yonkers. Foster made her professional debut on stage in 1955 following studies at the American Theater Wing. Between 1967 and 1986, she appeared in over 25 shows with the Negro Ensemble Co, receiving an Obie award in 1985 for excellence of performance. In 1978, she won an Andelco Award for her achievements in black theater as an actress. She won the same award for best director in 1983. Foster died June 17, 1997 of a brain hemorrhage at the age of 79.

Trivia: Most filmgoers and television viewers know Jason Evers for his performances on such series as The Guns of Will Sonnett, movies like The Green Berets, and guest-starring roles on programs such as Star Trek ("Wink of an Eye"). In reality, the actor has had a much longer career than those movie and television credits rooted in the 1960s and 1970s. Born Herbert Evers in the Bronx, NY, in 1922, he was the son of a theatrical ticket agent. Evers left De Witt Clinton High School before graduation in order to pursue an acting career and landed an apprenticeship with the Ethel Barrymore Colt Jitney Players, with whom he toured the country for two years at the end of the 1930s. In the early '40s, he was signed up by producer Brock Pemberton, who cast him in his breakthrough part, as Pvt. Dick Lawrence in the play Janie. That play established Evers as a handsome male ingenue, of a type similar to contemporaries such as Van Heflin, Van Johnson, and Bill Williams. He subsequently endured a series of flop plays, as well as two years in uniform. After returning to civilian life, Evers resumed his career, principally in road company productions, including a tour of I Am a Camera with Veronica Lake. By then Evers was married to actress Shirley Ballard and the two frequently found themselves struggling financially between roles. Strangely enough, their marriage ended just at a point when the two were working together in a successful Broadway play entitled Fair Game. By 1960, Evers was ready to make the jump to the potentially greener pastures of the West Coast, and possible film work. He landed the leading role in a summer replacement television series called Wrangler, portraying a rugged, laconic cowboy. In the bargain, he also traded in his first name for the smoother and more manly Jason Evers. The series wasn't picked up for the regular season but Evers was on the map, his new name and image working very much in his favor. Jason Evers was a fresh name and face, and he had also acquired an intense, edgy quality, in sharp contrast to the callow handsomeness of his image in the 1940s and 1950s. Herbert Evers seemed a slightly bland leading man, but Jason Evers, in name and image, conveyed intensity and even danger. He did a few small movie roles at the outset of the decade, and then got the only starring screen role of his career -- unfortunately, the latter was in the horror thriller The Brain That Wouldn't Die (1962). The actor -- credited as Herb Evers -- played a scientist obsessed with the idea of keeping the severed head of his fiancée alive. Luckily, no one of any consequence in the entertainment industry ever saw the film (which has since been embraced by bad-movie cultists, and has turned up on Mystery Science Theater 3000), or tied "Herb Evers" up with Jason Evers. In 1964, he got another crack at a series with Channing, a topical drama set at a university -- a kind of collegiate answer to Mr. Novak -- co-starring Henry Jones. That program failed to find an audience, but by then, Evers was making a massive number of guest-star appearances, on series as different as Gunsmoke and Star Trek, often playing villains. He also played important supporting roles in feature films, including an excellent performance in The Green Berets, as the doomed Captain Coleman, the outgoing commander of the forward base where John Wayne's Colonel Kirby tries to make a stand. Evers landed what was arguably his best television role on the series The Guns of Will Sonnett, portraying Jim Sonnett, the gunslinger who is the object of a search through the West by his father (Walter Brennan) and son (Dack Rambo). Evers was perfect as Jim Sonnett, grim and taciturn and, yet, beneath his nasty veneer as a tired veteran gunman, concerned for the well-being of his father and son once he knows they are looking for him. The only problem with the role was that he hardly ever got to play it -- as the object of the quest at the center of the series' plot, he only actually appeared onscreen a handful of times during the two-year run of the series. Still, it was an actor's dream of a part, in the sense that his character was discussed prominently in every episode, and figured in virtually every plot complication and development; no performer could ask for a better lead-in than that to his actually taking the stage, and his appearances were memorable. Evers' career began to wind down during the 1970s, amid roles of varying size in such movies as Escape From the Planet of the Apes and Barracuda, and the horror-exploitation movie Claws. Evers has been in retirement since the mid-'80s, although he did briefly return to work, portraying a role in Basket Case 2 (1990).

Trivia: After attending City College of New York, Marc Lawrence studied acting with Eva Le Gallienne. Among the many stage productions in which Lawrence appeared were Sour Mountain and Waiting for Lefty. First signed for films by Columbia in 1932, Lawrence's scarred face and growly voice made him indispensable for gangster parts, though he generally displayed an intelligence far higher than the average goon or gunman. Though usually limited to villainy, Lawrence was not always confined to urban roles, as witness his successful portrayals of a mountaineer in Shepherd of the Hills (1942) and a western saddle tramp in The Ox-Bow Incident (1943). The actor's own favorite role was Corio in 1947's Captain from Castille. During the House UnAmerican Activities Committee investigations of the 1950s, Lawrence reluctantly offered testimony implicating several of his coworkers as alleged communist sympathizers; the experience virtually destroyed his American career and left him embittered and defensive (he would always refuse to be interviewed by historians of the "Blacklist" era, referring to them as "ghouls"). Lawrence was forced to seek out work in Europe, where he'd emerge in the early 1960s as a director of crime films and spaghetti westerns. Back in the U.S. in the 1980s, Lawrence made several TV appearances and showed up in such films as The Big Easy (1987) and Newsies (1992), typecast once more as gangsters. In 1993, Lawrence privately published his memoirs, in which for the first time in print he addressed his dark days as an HUAC "friendly witness."

Trivia: Black supporting actress Ja'net DuBois first appeared onscreen in 1970.