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: Chicago-born actress Beverly Todd began her acting career on-stage, appearing in plays such as Deep Are the Roots and No Strings in New York and London. She embarked upon her film career in the '70s, immediately making a major impact with a string of memorable roles in films like The Lost Man, They Call Me Mister Tibbs!, and Brother John, as well as in the legendary miniseries Roots. As the '80s began, Todd's roles became more varied, as she exploring her comedic side in movies like Baby Boom and Moving. This trend continued throughout the '90s and 2000s, as Todd enjoyed working on projects that fell all over the spectrum, from the high-school docudrama Lean on Me to a guest role on the sitcom A Different World and a recurring part on the hit HBO series Six Feet Under to the Oscar-winning Crash. In 2007, she had a supporting role in the Morgan Freeman/Jack Nicholson vehicle The Bucket List.

Trivia: "...And Dave Thomas as the Beaver" was the voice-over billing given this Canadian entertainer on the 1970s TV series Second City Television. But while Thomas may have had the adolescent face and short stature of Jerry Mathers, his taste in comedy was as mature and as wickedly satirical as any of his Second City confreres. Among Thomas' dozens of comic characterizations during his Emmy-winning SCTV years, the best known and most popular were his dead-on impression of Bob Hope and his deadhead interpretation of donut-munching, bacon-ingesting, beer-swilling "typical" Canadian Doug McKenzie. Together with his onscreen "brother," Bob McKenzie (better known as Rick Moranis), Thomas starred in the goofy feature film Strange Brew (1982), the first and last film ever made in "Hose-a-rama" (the origin of this phrase and a rundown of the rest of the McKenzie brothers' catchphrases could be given here, but it's known what happens when humor is dissected and left to die). Dave Thomas' career hasn't quite reached the heights of such SCTV alumni as Moranis, Martin Short, and the late John Candy, but he's still plugging away, producing, directing, writing, and starring in uproarious cable TV specials; Thomas was cast in the regular role of Russell on the popular Brett Butler sitcom Grace Under Fire.

Trivia: Comic actor Dana Carvey led a near-monastic existence while growing up in Montana, not out of choice but because the truly popular kids were bigger and better-looking. "I was a fetus in shoes" commented Carvey on his high-school years. While attending San Francisco State University, Carvey launched his career as a stand-up comic. The going was rugged for a while, but by 1981 Carvey had built up enough of a reputation to earn second billing on the Mickey Rooney TV sitcom One of the Boys. Though the show was cancelled by mid-1982, Carvey was now on a roll. In 1984, he showed up as a regular on the TV police adventure series Blue Thunder, and was spotlighted in the parody rockumentary film This is Spinal Tap; two years later he was signed as a regular on NBC's Saturday Night Live. Carvey's gallery of comic characterizations is too vast to fully recount here, but his greatest popularity rested on two recurring characters. As "The Church Lady" (an amalgam of all the well-meaning pious neighbors Carvey had known while growing up), Carvey entered the Catchphrase Lexicon with his oft-repeated "Isn't that special?" and "Could it be....SATAN?" And as mop-topped teenage couch potato Garth (again drawn from life--this time based on Dana's brother Brad), Carvey was teamed with Mike Myers in a flawless on-going parody of cheap cable-access television. After a misfire movie vehicle, 1990's Opportunity Knocks, Carvey became a major box-office commodity by co-starring with Mike Myers in the megahit Wayne's World (1992). While the 1993 sequel Wayne's World 2 didn't quite match the take of the original, Carvey was artistically satisfied that same year with an Emmy award for his performance as H. Ross Perot (among others) on TV's Saturday Night Live Presidential Bash. Undaunted by the lack of response to Opportunity Knocks, Carvey once again took a stab at solo success with the similarly panned Clean Slate in 1994. After appearing in a pair of supporting roles (Trapped in Paradise and The Road to Wellville (both 1994)) and a cameo (1996's The Shot) shortly thereafter, Carvey disappeared almost entriely from the public eye until resurfacing in the 1999 Saturday Night Live; Presidential Bash and once again taking a small role in Adam Sandler's Little Nicky (2000). Eager to resume his once lucrative career and make a feature that his children could enjoy, Carvey returned to the silver screen as an Italian waiter who takes the art of mimicry to new and uncharted heights in The Master of Disguise (2002). In 1997 he underwent a heart operation that was bungled to such a degree that he was awarded millions in a lawsuit, and had to undergo multiple procedures to correct the problems caused by the initial incident. He finally reappeared on big-screens in 2011 in the Adam Sandler comedy Jack and Jill.

Trivia: Six-foot four-inch, beefy character actor with rubbery, homely face, Quaid's first professional show-business work was as the "straight man" half of a comedy duo with actor Trey Wilson in Houston. While a third-year college drama student he was cast by Peter Bogdanovich in a supporting role in The Last Picture Show (1971), then went on to have small roles in Bogdanovich's next two movies. He made a big impression as a naive sailor alongside Jack Nicholson in The Last Detail (1973), for which he received a Best Supporting Actor Oscar nomination. By the mid '70s, he worked in films frequently, usually typecast as a dim-witted fool or redneck. In the mid '80s he was (for one season) in the regular cast of the weekly sketch-comedy series "Saturday Night Live," on which he demonstrated his considerable comedic talent and often impersonated President Ronald Reagan. More recently he has gotten straight dramatic roles, a transition marked by his off-Broadway stage debut in True West in 1983. He has also worked frequently in TV movies, portraying Lenny in Of Mice and Men (1981) and Lyndon Johnson in LBJ: The Early Days (1987); for his portrayal of Mitch in the TV version of A Streetcar Named Desire (1984) he won an Emmy. He is the brother of actor Dennis Quaid, with whom he appeared in The Long Riders (1980).

Trivia: Born in the Bronx, Stacey Dash made her name as one of the quintessential Beverly Hills princesses in Clueless (1995). After doing commercials as a child, Dash further honed her acting skills on TV in episodes of St. Elsewhere, The Cosby Show, and The Fresh Prince of Bel Air. After making her film debut in Richard Pryor's comedy Moving (1988), Dash featured more prominently as the object of Damon Wayans' affection in Mo' Money (1992) and as one of the recruits in Renaissance Man (1994). Dash's comic skills (and an ability to carry off outrageous hats with style) were put to clever use as Alicia Silverstone's best friend and fellow fashion plate Dionne in Amy Heckerling's Clueless. A sleeper summer hit, Heckerling's affectionate satire of privileged L.A. teens became a key film in the 1990s teen pic resurgence; Dash reprised her role on the Clueless TV series from 1996 to 1999. Taking a break from Dionne during hiatuses, Dash appeared in the crime drama Cold Around the Heart (1997) and the indie comedy Personals (1999). She continued to work steadily at the beginning of the 21st century appearing in a variety of projects such as View From the Top, Gang of Roses, Murder in Fashion, and Dysfunctional Friends.

Trivia: Like many African-American actors of the '60s, Ji-Tu Cumbuka unfortunately found the demand for his services limited until black performers became "fashionable." Active in films since 1967, Cumbuka appeared in such productions as Uptight (1968), Mandingo (1975), Bound for Glory (1976), Fun with Dick and Jane (1977) and Brewster's Millions (1985). The actor also did plenty of TV, including the 1977 miniseries Roots (as "The Wrestler") and the unsold 1979 pilot for Mandrake the Magician, wherein he played Mandrake's muscular assistant Lothar. Among the "sold" TV series featuring Ji-Tu Cumbuka were Young Dan'l Boone (1977) and Robert Conrad's A Man Called Sloane (1979). Cumbuka died in 2017, at age 77.

Trivia: If ever there was a "late bloomer," it was American comedian Rodney Dangerfield. His father was a vaudeville pantomimist who was known professionally as Phil Roy, thus when Dangerfield struck out on his own stand-up comedy career at age 19 (he'd been writing jokes for other comics since 15), he called himself Jack Roy. For nine years he labored in some of the worst clubs on the East Coast, giving it all up at age 28 in order to support his new wife. Unfortunately, the marriage was an unhappy one, soon ending in divorce. In 1963 the comic returned to performing, using the name "Rodney Dangerfield" to distance himself from his miserable "Jack Roy" days. Four more years passed before Dangerfield finally got his big break on The Ed Sullivan Show, for which he'd auditioned by sneaking in during a dress rehearsal. By this time, Dangerfield had fully developed his belligerently neurotic stage persona, tugging at his tie and mopping his brow while he delineated the variety of ways in which he "don't get no respect." On top at last, Dangerfield opened his own nightclub in 1969, where many major comics of the 1970s and 1980s got their first opportunities; fiercely competitive onstage, Dangerfield is known to be more than generous to new talent offstage. In films since his turn as a nasty theatre manager in the 1970 low-budgeter The Projectionist, Dangerfield has exuded a movie image somewhat different than his paranoid nightclub character; he often plays a crude-and-rude "nouveau riche" type who delights in puncturing the pomposity of his "old money" opponents (Caddyshack). Rodney Dangerfield's best screen role was, significantly, his nicest--in Back to School (1985), he played a blunt but decent self-made millionaire who decides to join his son in getting an expensive college education.

Trivia: An amiable American character actor with Midwest sensibilities, Gordon Jump spent most of his career appearing on television. A native of Centerville, OH, he got his start on the radio at station WIBW, Topeka following studies in broadcasting and communication at Kansas State University. While at the station, Jump wore many hats, including the hat of WIB the Clown, the host of a local children's show. He later worked on radio in Ohio until 1963 when he decided to move to Hollywood to launch an acting career. Through the '60s and '70s, he appeared on numerous series including Green Acres. In 1978, Gordon Jump was selected to play sweet-natured, slightly befuddled radio station manager Arthur Carlson on the classic sitcom WKRP in Cincinnati. When the series ended in the early '80s, Jump returned to making guest appearances on other shows. Between 1991 and 1993, he reprised his role of Carlson on The New WKRP in Cincinnati. In 1997, Jump found steady work playing the "Lonely Repairman" in TV commercials for Maytag appliances. In addition to television, Jump also made occasional film appearances.

Trivia: Big- and small-screen supporting player Julius J. Carry III specialized in tough, aggressive, street-smart characterizations, typically with a comic edge, and often though not always in urban-oriented material. A Windy City native, Carry debuted with a small turn in the Rudy Ray Moore blaxploitation vehicle Disco Godfather (1979) and also played a ferocious gang leader, The Shogun, in Berry Gordy's ambitious but empty youth picture The Last Dragon (1985). Meanwhile, Carry found his bread and butter by signing for over 100 guest roles on television series including Alice, The A-Team, and The Jeffersons, as well as recurring parts on series including It's a Living (as amiable physician Reggie St. Thomas), Murphy Brown, and Boy Meets World. He also turned up in additional features; big-screen assignments included the role of a CIA agent in the Tom Hanks comedy The Man With One Red Shoe (1985) and a nutty coach in the Richard Pryor vehicle Moving (1988). Carry died of pancreatic cancer at age 56 in the late summer of 2008.

Trivia: Black supporting actor Al Fann began his career onstage and first appeared onscreen in the '70s.

Trivia: Alan Oppenheimer is one of the busiest of that breed of character actors who so expertly blend into the roles they're playing that they don't seem to be acting at all. Generally cast in "management" roles in films (the chief supervisor in 1973's Westworld, for example), Oppenheimer has also been a regular or semi-regular on several TV series. He was Dr. Rudy Wells during the first season of The Six Million Dollar Man (1974-75) ex-gangster Sheldon Leonard's brother Jessie on Big Eddie (1975), Captain Finnerty on Eischeid (1979-83) and Ben Brookstone on Home Free (1993), and was seen on an occasional basis as Dr. Raymond Auerbach on Murder She Wrote and network president Eugene Kinsella on Murphy Brown. Alan Oppenheimer's most lasting legacy rests in his innumerable cartoon voiceovers for Hanna-Barbera, Filmation, Disney and other studios: He was heard as Ming the Merciless on New Adventures of Flash Gordon (1979), Sidney Merciless in the "Shake Rattle and Roll" component of CB Bears (1977), Mighty Mouse in The New Adventures of Mighty Mouse and Heckle and Jeckle (1979 Filmation version), Big D on The Drak Pack (1980), Tawky Tawney and Uncle Dudley in Kid Super Power Hour with Shazam (1981), Vanity on The Smurfs (1981-90), Sheriff Pudge on The Trollkins (1981), Skeletor in He-Man and the Masters of the Universe (1983), the King of Gummadon in Disney's Adventures of the Gummi Bears (1985), Colonel Trautman in Rambo (1986), Pa Kent on Superman (1988 Ruby-Spears version), Merlin in The Legend of Prince Valiant (1991), and so many others.

Trivia: An imposing figure of both TV and the stage, 4'11" actor Leslie Jordan's physical stature belies his talent. Garnering massive acclaim for his portrayal of Brother Boy in the Broadway production of Sordid Lives, Jordan would go on to reprise the role for a film adaptation of the play. This led to a successful onscreen career as a character actor, making numerous guest appearances over the years on shows like Boston Legal, Ugly Betty, and Will & Grace. In 2008, he took on the role of Brother Boy once again, as Sordid Lives was adapted into a TV series for the Logo network.