Trivia: American entertainer Carol Burnett and her sister were both raised by their loving grandmother. It has long been a matter of public record that Burnett credits her grandmother for encouraging her to utilize her comic and musical talents to the fullest. Working her way through UCLA, she majored in English and Theater arts, gradually developing the poise and self-confidence to tackle an entertainment career. After nightclub work, Burnett was spotlighted on the variety programs of Steve Allen, Ed Sullivan, and Jack Paar, bringing down the house on Paar's program with the specialty ballad "I Made a Fool of Myself over John Foster Dulles." In 1956, Burnett co-starred with Buddy Hackett in the live TV sitcom Stanley, which unfortunately was scheduled opposite the indestructible Arthur Godfrey's Talent Scouts. A near-star several times over, Burnett finally grabbed the brass ring with her bravura performance in the 1959 off-Broadway musical Once Upon a Mattress, which led to a three-season stint as a regular on The Garry Moore Show. An Emmy award resulted from her contribution to Moore, and another Emmy followed for a 1962 joint appearance with Julie Andrews at Carnegie Hall. Some of her comedy of the era was the self-deprecating sort allotted to women who weren't raving beauties, but she transcended the cruelty of the jokes with an inner beauty that one would have to be blind to miss. As a slapstick comedienne Burnett was unrivalled, even by the sainted Lucille Ball, and on occasion she was allowed to drop the comic mask and deliver a heart-rending ballad. In 1962, CBS signed Burnett to a long term contract under the supervision of her then-husband, producer Joe Hamilton. After an uncomfortable few months in 1964 in which the producers of the Broadway production Fade Out Fade In sued Burnett for abandoning the play to appear in a weekly variety series The Entertainers, her post-Garry Moore career moved along unevenly. She was advised to sign for another series but avoided the option of situation comedy (she once insisted that she didn't want to be trapped playing someone named Agnes every week). In 1967, virtually out of desperation for a workable idea, The Carol Burnett Show premiered on CBS. Burnett patterned the program after Garry Moore's opening monologue, brief sketches with continuing characters, parodies, musical bits, and a closing all-star musical comedy production number. With such first-rate supporting talent as Harvey Korman, Vicki Lawrence, Lyle Waggoner and Tim Conway, The Carol Burnett Show was a ratings-grabber until its final telecast in 1978. Carol Burnett's life and career since then has been distinguished by as many valleys as peaks. Her film career never truly got off the ground, despite excellent performances in such pictures as Pete 'N' Tillie (1972) and A Wedding (1978). Nevertheless, Carol Burnett has more than earned her place in the pantheon of television giants.Burnett would remain active in the coming decades, starring in everything from the classic musical Annie to the sitcom Mama's Family, not to mention making inumerable appearances on shows like Touched By an Angel, Mad About You, Law and Order: Special Victims Unit, and Glee.

Trivia: She is best known for creating a multitude of memorable comic characters, including Ernestine the telephone operator and the rotten five-year-old rugrat Edith Ann, on television and in her stage shows, but let it not be forgotten that Lily Tomlin is also a talented dramatic actress, something she has thus far only demonstrated in two films. She was born Mary Tomlin in Detroit, MI. She was studying premed at Wayne State University when she heard the stage calling and so dropped out to perform skits and characterizations in cabarets and coffeehouses. Tomlin made her television debut on The Garry Moore Show but didn't get her first real break until she became a regular on Rowan and Martin's Laugh-In in 1970 and stayed through 1973. The series' machine gun pace proved the perfect outlet for Tomlin's offbeat humor and gave her the opportunity to hone her skills and develop her characters. She made an auspicious film debut with a touching dramatic role as a troubled gospel singer trying to deal with her hearing-impaired children and a womanizing Keith Carradine in Robert Altman's Nashville (1975), winning an Oscar nomination for Best Supporting Actress and a New York Film Critics award for the same category. Her next film, The Late Show (1977), was also more dramatic than comic and Tomlin again won kudos, though not in the form of awards, for her work. While she started off strongly in films, her subsequent output has been of uneven quality ranging from the entertaining All of Me (1984) to the abysmal Big Business (1988). But while her film career has never quite taken flight, Tomlin remained successful on-stage, in clubs, and on television. On Broadway, Tomlin has had two successful one-woman shows, Appearing Nitely (1976) and The Search for Signs of Intelligent Life in the Universe (1986), which Tomlin made into a film in 1991. In 1996, Tomlin became a regular on the cast of the long-running sitcom Murphy Brown playing a canny news producer and foil for Candice Bergan's Murphy. That same year she would work for the first time with director David O. Russell on the film Flirting With Disaster. After returning to film with the demise of Murphy Brown, Tomlin took on supporting roles in a variety of films, such as Tea with Mussolini and Disney's The Kid. But television soon came calling again in the form of a recurring role on NBC's The West Wing as The President's eccentric personal secretary.In 2004, Tomlin teamed with Russell again for the ensemble comedy I Heart Huckabees. A subsequent visit to the animated town of Springfield found Tomlin dropping in on The Simpsons the following year, withg recurring roles on both Will and Grace and The West Wing preceding a turn as one-half of a sisterly singing act along with Meryl Streep in the 2006 Robert Altman radio-show adaptation A Prairie Home Companion. At the Oscar telecast in 2006 Streep and Tomlin presented Altman with a lifetime achievement award, delivering their speech in a style that emulated the distinctive rhythms of his films. That same year she leant her vocal talents to an animated film for the first time in her career providing the voice for Mommo in The Ant Bully, which coincidently also featured her Prairie Home Companion cohort Meryl Streep. She had a major role in Paul Schrader's The Walker, and provided a voice in the English-language version of Ponyo. She joined the cast of the award-winning cable series Damages in 2010 for that show's third season and was a series regular on Malibu Country in 2012-13, playing Reba McEntire's mother.

Trivia: Actress, singer, and entertainer Diahann Carroll was awarded a Metropolitan Opera scholarship to attend the High School of Music and Art in New York at the age of ten. While a sociology student in college, Carroll modeled, which led to work as a singer in nightclubs and as a TV performer. In 1954, she made her debut on Broadway (House of Flowers) and in films (in Carmen Jones). She won a Tony Award for her Broadway starring role in No Strings (1962) and later starred on the TV series Julia (1968-69), a TV breakthrough in that it was the first regular series to star (not co-star) a black actor. Carroll was nominated for a "Best Actress" Oscar for her work in Claudine (1974). She was married to actor/singer Vic Damone.

Trivia: Born into a lower-income California family, actress/pop singer Cher (born Cherilyn Sarkisian) attempted to escape her poverty by entering show business as a go-go dancer at the age of 16. She met and married singer/promoter Sonny Bono, who lifted her from obscurity as half of the immensely popular singing duo Sonny and Cher. The diminutive, ebullient Bono and the tall, deadpan Cher became a top recording team (their big hit was "I Got You, Babe") and a regular guest act on the many variety shows of the period. Sonny and Cher continued their upward climb until musical tastes changed in the early '70s, whereupon they began concentrating on comedy sketches and kidding-on-the-square insults directed at one another in their own variety weekly, The Sonny & Cher Comedy Hour, which enjoyed a successful three-year network run beginning in 1971. It was on this program that Cher, began sharpening her acting versatility in such sketch roles as brash housewife Laverne, sardonic waitress Rosa, and a whole slew of historical vamps. But Cher began to chafe at Bono's hold on her career and her private life, and the couple divorced in 1974. Both Sonny and Cher were starring on separate TV series that fall, but they also each faced poor ratings; so the pair decided to team up professionally once more in 1976 for a new Sonny & Cher Show, although Cher was now married to Gregg Allman and pregnant with their son Elijah. But the old chemistry was no longer there, and the new program was canceled in the following year. Bono eased out of show business for a successful political career, while Cher began seeking out film work. At first treated condescendingly by critics, she matured into a first-rate actress in such movies as Come Back to the Five and Dime Jimmy Dean, Jimmy Dean (1982) (repeating her Broadway role), Silkwood (1983), Mask (1985), Suspect (1987), and Moonstruck (1987). She was nominated for an Oscar for her performance in Silkwood, received one for her role in Moonstruck, and shared a Best Actress award at Cannes for her supporting role in Mask. Something of an enigma in the show business world, Cher has managed to retain her stature as a highly respected film actress while promoting exercise videos and a line of cosmetics, in addition to recording new chart-topping songs and appearing in music videos.She was mother to Winona Ryder in the quirky comedy Mermaids in 1990, and two years later she was one of the many celebrities who made cameos as themselves in Robert Altman's scathing Hollywood satire The Player. She appeared in and directed one of the segments of the abortion drama If These Walls Could Talk, and was part of the impressive ensemble put together for 1999's Tea With Missolini. She had a very funny turn in Stuck on You, and mounted a farewell concert tour in 2003. She was away from the big-screen for a period of years, but came back with the campy musical Burlesque opposite Christina Aguilera in 2010. The next year she lent her distinctive voice to one of the animals in the Kevin James vehicle Zoozeeper.

Trivia: When so inclined, entertainer Mitzi Gaynor has claimed to be descended from Hungarian nobility; on these occasions, she has stated that her real name is Francesca Mitzi von Gerber, rather than merely Gerber. The daughter of a ballerina, Gaynor made her own terpsichorean debut when she was barely a toddler; by age 12, she had joined the dancing chorus of the Los Angeles Civic Light Opera. In 1950, Gaynor was signed by 20th Century Fox as yet another potential Betty Grable replacement. She sang and danced her way quite prettily through such Technicolor confections as Golden Girl (1951, as Lotta Crabtree), Bloodhounds of Broadway (1952), and There's No Business Like Show Business (1954). Unfortunately, her films were not sufficiently successful to warrant renewal of her contract after 1954. After being dropped by Fox, Gaynor married talent agent Jack Bean, who wisely perceived that his new bride was a far more effective performer on a live stage rather than a cold movie set. Gaynor co-starred with Bing Crosby and Donald O'Connor in Anything Goes (1956), with George Gobel and David Niven in The Birds and the Bees (1956), and with Frank Sinatra in The Joker Is Wild (1957). Her best work during this period was while on loan to MGM for George Cukor's Les Girls (1957), in which she shared star billing with Gene Kelly, Kay Kendall, and Taina Elg. In 1957, Gaynor was tapped for the plum role of Nellie Forbush in Joshua Logan's film version of Rodgers and Hammerstein's South Pacific (1958). Except for a few scattered appearances in such modest comedies as Happy Anniversary (1959) and Surprise Package (1960), Gaynor's film career was over. Happily, Mitzi Gaynor continued to be a major draw on the nightclub and summer-musical circuit, and for several years in the 1960s and 1970s she headlined a top-rated annual TV special.

Trivia: One of the world's all-time greatest jazz singers for over 50 years and the queen of scat singing, Ella Fitzgerald has been the subject of numerous documentaries and performance videos. During the '50s, '60s, and '70s, she often appeared on television variety shows, daytime programs, and in specials. During the '70s, her voice could be heard shattering glass on Memorex ("Is it live or is it Memorex?") commercials. Earlier in her career, Fitzgerald made the occasional feature film appearance beginning with Ride 'Em Cowboy (1942).

Trivia: Swedish siren Ann-Margret immigrated to the U.S. with her family at the age of seven, settling in a Chicago suburb and later studying Drama at Northwestern University. Despite an innate bashfulness, the girl set out to become a musical entertainer, making her professional debut as a singer at the age of 17. Fortunately, she was spotted by comedian George Burns, who hired her for his Las Vegas show and arranged for several professional doors to be opened for his protégée. Her first film was Pocketful of Miracles (1961), in which she played Bette Davis' daughter; this was followed by a lead in State Fair the following year. Ann-Margret tended to be withdrawn when interviewed, which earned her the media's "Sour Apple" award as least cooperative newcomer. But she was able to overcome this initial bad press via a show-stopping appearance at the 1962 Academy Awards telecast, which turned her into an "overnight" national favorite and encouraged the producers of Bye Bye Birdie (1963) to build up her role. Perhaps the best indication of her total public acceptance was her animated appearance in a 1963 episode of The Flintstones (as Ann Margrock). Ann-Margret's career faltered in the mid-'60s thanks to a string of forgettable pictures like Made in Paris (1966) and Kitten With a Whip (1964). (One of the few highlights of this period, however, was her appearance in Elvis Presley's Viva Las Vegas in 1964, which led to an offscreen relation with The King.) Her career in doldrums, Ann-Margret marshalled a comeback in the early '70s thanks to the tireless efforts of her husband and manager, former actor Roger Smith. Sold-out Las Vegas and concert performances were part of her career turnabout, although the most crucial aspect was her Oscar nomination for a difficult role in 1971's Carnal Knowledge. But the comeback nearly ended before it began in 1972 when the entertainer was seriously injured in a fall during her Vegas act. With the help of physical rehabilitation and plastic surgery (not to mention the loving ministrations and encouragement of Smith), the actress made a complete recovery and went on to even greater career heights. She received her second Oscar nomination for her bravura performance in the rock-opera film Tommy (1975), where, in one of the high points of '70s cinema bizarre, she sang a number while swimming in baked beans. Ann-Margret was equally impressive (though in a less messy manner) in such powerhouse TV movies as Who Will Love My Children? (1983) and A Streetcar Named Desire (1984). The low point of Ann-Margret's early-80s career doubtless arrived when she agreed to act in Hal Ashby's lousy 1982 gambling drama Lookin' to Get Out (aside a scream-happy Jon Voight) -- and probably regretted it for years afterward. A few triumphs marked the 1980s as well, however, such as the actress's turn as Steffy Blondell in Neil Simon's enjoyably bittersweet comedy-drama I Ought to Be in Pictures, and her role as a barmaid who strikes up an extramarital affair with - and later weds - Gene Hackman, in Bud Yorkin's finely-wrought domestic drama Twice in a Lifetime (1985). After Newsies (1992), Disney's glaringly awful attempt to revive the period musical, Ann-Margret took time out of her packed schedule to write her 1993 autobiography Ann-Margret: My Story, a work revelatory about herself and her own personal demons that nonetheless evinces respect toward her show-business mentors and co-workers. She exuded warmth as the bon vivant who falls in-between bickering Walter Matthau and Jack Lemmon in the 1993 box office hit Grumpy Old Men and its lackluster 1995 sequel, Grumpier Old Men (and played a satisfying straight man throughout). Yet the high profile of the Old Men releases made them exceptions to the actress's output in the mid-late nineties and early 2000s, which - though of varying quality - placed infinitely greater weight on television work than Ann-Margret had at any earlier point in her career. (In fact, for a period of about ten years, she became a veritable telemovie staple on par with Mary Tyler Moore and Meredith Baxter-Birney). These titles include but are not limited to: Nobody's Children (1994), Scarlett (1994), Seduced by Madness: The Diane Borchardt Story, Life of the Party: The Pamela Harriman Story (1998), Happy Face Murders (1999), Blonde (2001) and A Place Called Home (2004). One big-screen exception arrived in the late 1999 football drama Any Given Sunday, where Oliver Stone gave Ann-Margret her meatiest role since Carnal Knowledge, as the alcoholic mother of team owner Christina Pagliacci (Cameron Diaz. It entailed only a small part amid a massive ensemble cast (Dennis Quaid, Al Pacino, Jamie Foxx, James Woods, others), but provided an excellent showcase for the actress's craftsmanship. She landed a bit part as Wendy Meyers, the mother of Jennifer Aniston's character, in the Aniston-Vince Vaughn romantic comedy The Break-Up, and joined Tim Allen and Martin Short for that same year's Buena Vista holiday sequel Santa Clause 3: The Escape Clause. As the new decade began, she continued to appear regularly in projects as diverse as The 10th Kingdom, Taxi, The Break-Up, and Old Dogs. In 2011 she starred in the comedy All's Faire in Love as the queen of a Renaissance fair.

Trivia: A musical career came virtually by inheritance to African-American entertainer Leslie Uggams. Her father sang with the Hall Johnson Choir, and her mother was a chorus dancer. At age 6, Leslie was appearing with Ethel Waters in the TV sitcom The Beulah Show; at eight, she was featured on Paul Whiteman's TV Teen Club; and from eight to twelve, she sang on tour in big-city theatres and showed up in guests spots on shows starring the likes of Arthur Godfrey, Milton Berle and Garry Moore. A graduate of the Professional Children's School of New York, Uggams "retired" from show business at age 12--only to reemerge as a contestant (and singer) on the TV game show Name That Tune. Later on in 1960, Uggams was showcased to perfection as the offscreen singer of "Old Time Religion" in the opening scenes of the movie Inherit the Wind. While a student at Julliard in 1961, Ms. Uggams was hired to be regular female vocalist on Sing Along With Mitch, an otherwise all-male (and all-white) songfest hosted by Mitch Miller. A major star by 1969, Uggams became the first black female performer to host her own TV series since Hazel Scott in the '50s; alas, The Leslie Uggams Show became the latest in a long list of casualties to its powerhouse competition Bonanza. The next two decades were a kaleidescope of lofty heights and dismal depths for Uggams. But when she triumphed, it was big-time: She was brilliant as Kizzy in the groundbreaking 1977 TV saga Roots, and no less superb in a key role on a 1979 mini-series, Backstairs at the White House. Leslie Uggams' last regular television stint was as cohost of a nighttime audience participation series, Fantasy, in 1983. The series didn't last, but Uggams managed to grab an Emmy award for her efforts.