Trivia: Tall, deep-voiced American actress Beatrice Arthur, born Beatrice Frankel, was best known for her television work on the long-running series Maude and The Golden Girls, but she also occasionally appeared in films. Her most famous film is 1973's Mame in which she played Vera Charles, the role she originated on Broadway.

Trivia: During his first few decades as an actor, Bill Macy took whatever was readily available: poetry-reading jobs, movie bits, comedy-record gigs (he's the operatic cabdriver in the classical music lampoon The Wurst of PDQ Bach) and off-Broadway stage assignments. While appearing in the 1969 "nudie" musical Oh! Calcutta, the 45-year-old Macy gained attention, critical and otherwise, for appearing au naturel in one of the comedy sketches. Evidently he enjoyed the sensation; even in his days of TV prominence, Macy was known to disrobe at parties and public functions whenever he'd been too generous in his participation at the bar. In the early 1970s, Macy was cast in several small roles in the TV properties of producer Norman Lear; this led to a lengthy (72-78) engagement as Walter Findlay, husband of fiery feminist Maude Findlay (Bea Arthur) on the popular sitcom Maude. Since that time, Bill Macy has thrived in film and stage character parts, and has co-starred in two TV weeklies, Hanging In (79) and Nothing in Common (87).

Trivia: American actress Adrienne Barbeau was encouraged by her mother to take dancing and singing lessons. Adrienne was active in theatre both in high school and at Foothills Junior College; by age 19 she was touring Pacific military bases as a member of the San Jose Light Opera. After an unprepossessing job with a termite-control company, Adrienne set out for New York, paying the bills with a variety of jobs including go-go dancing in New Jersey nightclubs. In 1968 she was cast as Hodel in the long-running Broadway production Fiddler on the Roof, and three years later was featured in Grease, winning a Tony nomination through her rendition of "Look at Me, I'm Sandra Dee." From here, Adrienne was hired by Norman Lear to replace first-choice actress Marcia Rodd in the role of the divorced daughter on the controversial TV sitcom Maude. She played the role from 1972 through the series' cancellation in 1978, after which she began a whole new career as a successful horror-film star and sexy pin-up model. Adrienne married film director John Carpenter in 1979; most of her subsequent screen appearances were in such Carpenter-directed terrors as The Fog (1980), Escape from New York (1981) and Creepshow (1982). Perhaps Adrienne Barbeau's most enjoyable performance was as the Marlon Brando counterpart (!) in an uproarious distaff parody of Apocalypse Now, sublimely titled Cannibal Women in the Avocado Jungle of Death (1989). Barbeau would continue to act over the coming decades, appearing on TV shows like The Drew Carey Show, Carnivale, and the soap General Hospital.

Trivia: Wryly humorous Canadian character actor Conrad Bain was all wrapped up in such athletic pursuits as hockey and speed skating when, in his junior year of high school, he suddenly became fascinated with acting. He studied at Alberta's Banff School of Fine Arts, served in the Canadian army during World War II, then resumed his training at New York's American Academy of Dramatic Arts. He worked at the Stratford (Ontario) Shakespeare Festival and in live television before scoring his first real success in the 1956 Broadway revival of Eugene O'Neill's The Iceman Cometh. In the early 1970s, Bain began popping up in such New York-based films as Lovers and Other Strangers (1970) and Woody Allen's Bananas (1973). He gained national fame in the TV role of stuffy next-door neighbor Dr. Arthur Harmon on the Norman Lear sitcom Maude (1974-78). Bain was later awarded top billing as wealthy Phillip Drummond, foster father to Gary Coleman and Todd Bridges, on Diff'rent Strokes. His most recent regular-series assignment was as presidential aide Charley Ross on the George C. Scott TV vehicle Mr. President (1987). Conrad Bain's identical twin brother Bonar Bain occasionally guested on Conrad's various TV series. Conrad died at 89 in early 2013.

Trivia: Arguably the most popular -- and certainly the busiest -- movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox lot during summer vacations from U.S.C., which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, and, although it was a failure at the box office, the movie showed Wayne's potential as a leading man. During the next nine years, be busied himself in a multitude of B-Westerns and serials -- most notably Shadow of the Eagle and The Three Mesquiteers series -- in between occasional bit parts in larger features such as Warner Bros.' Baby Face, starring Barbara Stanwyck. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond. In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power (and incalculable importance to the genre), and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache [1948], She Wore a Yellow Ribbon [1949], Rio Grande [1950], The Searchers [1956]); war pictures (They Were Expendable [1945]); or serious dramas (The Quiet Man [1952], in which Wayne also directed some of the action sequences). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers [1942], Back to Bataan [1945], Fighting Seabees [1944], Sands of Iwo Jima [1949]); costume action films (Reap the Wild Wind [1942], Wake of the Red Witch [1949]); and Westerns (Red River [1948]). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons Michael and Patrick (who also became an actor). Most of these films were extremely successful, and included such titles as Angel and the Badman (1947), Island in the Sky (1953), The High and the Mighty (1954), and Hondo (1953). The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo. At the end of the 1950s, Wayne began taking on bigger films, most notably The Alamo (1960), which he produced and directed, as well as starred in. It was well received but had to be cut to sustain any box-office success (the film was restored to full length in 1992). During the early '60s, concerned over the growing liberal slant in American politics, Wayne emerged as a spokesman for conservative causes, especially support for America's role in Vietnam, which put him at odds with a new generation of journalists and film critics. Coupled with his advancing age, and a seeming tendency to overact, he became a target for liberals and leftists. However, his movies remained popular. McLintock!, which, despite well-articulated statements against racism and the mistreatment of Native Americans, and in support of environmentalism, seemed to confirm the left's worst fears, but also earned more than ten million dollars and made the list of top-grossing films of 1963-1964. Virtually all of his subsequent movies, including the pro-Vietnam War drama The Green Berets (1968), were very popular with audiences, but not with critics. Further controversy erupted with the release of The Cowboys, which outraged liberals with its seeming justification of violence as a solution to lawlessness, but it was successful enough to generate a short-lived television series. Amid all of the shouting and agonizing over his politics, Wayne won an Oscar for his role as marshal Rooster Cogburn in True Grit, a part that he later reprised in a sequel. Wayne weathered the Vietnam War, but, by then, time had become his enemy. His action films saw him working alongside increasingly younger co-stars, and the decline in popularity of the Western ended up putting him into awkward contemporary action films like McQ (1974). Following his final film, The Shootist (1976) -- possibly his best Western since The Searchers -- the news that Wayne was stricken ill with cancer (which eventually took his life in 1979) wiped the slate clean, and his support for the Panama Canal Treaty at the end of the 1970s belatedly made him a hero for the left. Wayne finished his life honored by the film community, the U.S. Congress, and the American people as had no actor before or since. He remains among the most popular actors of his generation, as evidenced by the continual rereleases of his films on home video.