Trivia: The "sweetheart" of TV's The Mickey Mouse Club, American entertainer Annette Funicello began performing at age 10. The Disney people themselves sensed that Funicello had star quality, building several musical numbers around her on The Mickey Mouse Club and fashioning her own Club show-within-a-show miniseries, appropriately titled "Annette." Funicello's post-Mickey Mouse career was far more successful than that of many of her fellow Mouseketeers--and the reasons cannot be charged up to looks alone. She also was guest-starred on the Disney TV series Zorro and Wonderful World of Color, and was given sizeable roles in such Disney theatrical features as The Shaggy Dog (59) and Babes in Toyland (61). While still under contract to Disney, Funicello began appearing in American-International's Beach Party series, usually co-starring with Frankie Avalon. Though these films were distinguished by undulating, bikinied females, Walt Disney decreed that Funicello never be involved in any "suggestive" sequences--nor were her two-piece bathing suits permitted to uncover her navel. After playing an extended cameo role as Davy Jones' sweetheart in The Monkees' film vehicle Head (68), Funicello cut down on her professional appearances, preferring to spend time with her family. During the 1970s, she became spokeswoman for a popular brand of peanut butter, her commercial appearances constituting the bulk of her on-camera time during this period. In 1987, she and onetime cohort Frankie Avalon co-financed and starred in the nostalgic musical film Back to the Beach. In her later years, Funicellostruggled against the ravages of multiple sclerosis; her courage and high spirits in the face of intense pain and decreasing mobility were inspirational, as well as beneficial in helping to raise funds for further research of degenerative diseases. In 1994, Annette Funicello published her autobiography, the tone of which perfectly reflected the actress herself: discreet, ladylike and boundlessly cheerful. After suffering from multiple sclerosis for more than two decades, Funicello died from complications from the disease in 2013 at the age of 70.

Trivia: One of the more talented members of the "Philadelphia school" of rock-n-rollers, Frankie Avalon was the reigning teen singing idol from 1958 through 1960. Devotees of American Bandstand will hold affectionate memories of such Avalon top-tenners as "Gingerbread" and "Venus." Avalon made a gradual transition from singer to actor beginning in 1957. He successfully essayed supporting roles in such films as Guns of the Timberland (1960) and The Alamo (1960) before starring in a string of inexpensive but moneymaking "Beach Party" flicks for American-International. As his film stardom eclipsed in the early 1970s, Avalon returned to singing, briefly starring in the 1976 nostalgia-oriented TV variety series Easy Does It. In 1987, Frankie Avalon was reteamed with his "Beach Party" leading lady Annette Funicello in the retro film musical Back to the Beach (1987), which he also co-produced. Over the next few years he could be seen in cameo performances portraying himself in a diverse string of projects including Troop Beverly Hills, the kid-friendly ABC sitcom Full House, and Martin Scorsese's violent Vegas gangster film Casino. In 1995 he reteamed with many of his old co-horts, including Annette and Dick Clark, for the feel-good made-for-TV showbiz film A Dream Is a Wish Your Heart Makes: The Annette Funicello Story.

Trivia: While attending Hollywood High School, Linda Evanstad (born November 18, 1942) accompanied a nervous classmate to an audition for a Canada Dry TV commercial. Impressed by the brunette, wholesomely pretty Evans, the ad-agency director invited her to read as well. After this and two subsequent commercial spots, Evans began making the TV guest-star rounds on such series as Bachelor Father, Ozzie and Harriet, The Untouchables and The 11th Hour. Her fortunes improved when she cut the "stad" off her last name and dyed her hair blonde. As Linda Evans, she made her first important film appearance as kidnapped pop singer Sugar Kane in the 1963 confection Beach Blanket Bingo; that same year, she was signed to an MGM contract, though she spent much of it on loan-out to other studios. From 1965 to 1969, Evans was co-starred on the TV western The Big Valley as the ever-imperiled Audra Barkley. Thereafter, her life and career was under the strict guidance of her then-husband, actor/director John Derek. Once free of Derek's influence, Evans was compelled to virtually start all over again in such lower-berth film efforts as Mitchell (1975). When she was hired to play the long-suffering Krystle Carrington on the long-running (1981-89) nighttime serial Dynasty, Evans' comeback was full and complete. Evans reprised her role as Krystle Carrington for Dynasty: The Reunion, a television series that aired in 1991. After working in a variety of made-for-television movies throughout the 1990s, Evans decided to retire from screen acting towards the end of the decade. However, the actress wouldn't disappear from television entirely, and neither would her legendary Dynasty persona (in 2005, actress Melora Hardin portrayed Evans herself for Dynasty: The Making of a Guilty Pleasure, a fictionalized television movie based on the production of Dynasty). The following year, Evans reunited with her Dynasty alumni for a non-fiction reunion special titled Dynasty: Catfights and Caviar. The actress appeared in -- and won -- the British television reality series Hell's Kitchen. Evans enjoys the reputation of being one of Hollywood's nicest and most gracious actresses. A persuasive spokesperson, she has endorsed several commercial products and worked tirelessly on behalf of the pro-environment movement.

Trivia: Deborah Walley's parents were professional figure skaters with the Ice-Capades; as a result, she spent much of her childhood in dressing rooms surrounded by people in bear suits. After studying at the American Academy of Dramatic Arts, Walley racked up an impressive list of Broadway and off-Broadway credits. Her first film appearance was in the title role Gidget Goes Hawaiian (1961), a "break" that nearly stopped her career cold before it began. She avoided being forever typecast as Gidget thanks to a brace of interesting appearances in two Disney flicks, Bon Voyage (1962) and Summer Magic (1963). Then came a long association with American-International's Beach Party series, ending with the benighted Ghost in the Invisible Bikini (1966). Her favorite film role was as the hoydenish "gal pal" to Elvis Presley in Spinout (1966). From 1967 through 1969, Walley appeared as Susie Hubbard on the weekly sitcom The Mothers-in-Law, reportedly spending much of her free time fending off the advances of producer Desi Arnaz. She left show business in the 1970s to raise her family and to write books. In 1986, Deborah Walley made a welcome return before the cameras in an episode of TV's Simon and Simon.

Trivia: Brooklyn-born Harvey Lembeck was a nightclub and Broadway comedian at the time of his 1951 film bow in You're in the Navy Now. The roly-poly, nasal-voiced Lembeck was most often cast as the wise-guy comedy relief in war films, most notably Stalag 17 (1953), in which Lembeck and bearlike Robert Strauss repeated their stage roles as "court jesters" in a dismal POW camp (the two actors would later be reteamed in the 1961 Jack Webb picture The Last Time I Saw Archie, not to mention a series of TV commercials in the mid-1960s). Harvey remained in uniform for a four-year hitch as Corporal Barbella on the popular 1950s Phil Silvers sitcom You'll Never Get Rich. In 1963's Beach Party, Lembeck made the first of several sidesplitting appearances as leather-jacketed Brando wannabe Eric von Zipper, whose attempts to prove his toughness to his fellow bikers always came a-cropper; in Beach Blanket Bingo, for example, he was cut in twain by a buzzsaw, moaning "Why Me?" even as his two halves fell bloodlessly to the floor. During the 1970s and early 1980s, Harvey Lembeck directed several TV sitcom episodes, and also operated a training school for aspiring comedians; carrying on the "family business" after Harvey's death was his son, actor/director Michael Lembeck.

Trivia: John Ashley should be a familiar name and face to anyone who attended a drive-in double feature in the 1950s. Ashley starred or co-starred in such passion-pit fodder as Hot Rod Gang (1958), How to Make a Monster (1958), Frankenstein's Daughter (1959) and High School Caesar (1960). In 1961, Ashley co-starred with future Flipper leading man Brian Kelly in the short-lived TV action series Straightaway. Ashley switched his base of operations to the Philippines in the 1960s and 1970s, frequently wearing several hats as actor, producer, director and scriptwriter. Films like Mad Doctor of Blood Island (1969) may not have been cited at the annual Oscar ceremonies, but they paid the bills many times over for the peripatetic Ashley. In the 1980s, Ashley hooked up with television producer Stephen J. Cannell to work on such series as The A-Team. He later teamed with Frank Lupo to executive or co-executive produce such series as Walker, Texas Ranger (1983), Werewolf (1987) and Something is Out There (1988). In the mid-'90s, Ashley began working as an in-house producer for Tri-Star Television. On October 4, 1997, John Ashley was working on the film Scarred City in New York, when he suffered a fatal heart attack.

Trivia: The son of actors Joel McCrea and Frances Dee, Jody McCrea didn't seem to have much direction in life until his father insisted that they be co-starred in the 1959 TV western Wichita Town. The younger McCrea attempted to follow in his father's rugged, "strong silent-type" footsteps in his subsequent film appearances. By the time he became a regular in the Beach Party flicks at American-International in the mid-1960s, however, McCrea had found his true cinematic niche as goofy, vacant-eyed comedy relief. Jody McCrea gave up show business in 1970 to become a rancher in New Mexico.

Trivia: Donna Loren was, after her slightly older contemporary Annette Funicello, the actress who got the most professional exposure from American International Pictures' Beach Party movies. Like Funicello, Loren had a wholesome image in those films; in contrast to Funicello, Loren was actually a teenager for the run of the series. Born Donna Zukor in Boston, MA, in 1947, Loren began performing professionally in 1955 when she got a job singing a commercial jingle for Meadowgold Ice Cream. That very same year, she was a guest on a new children's television program called The Mickey Mouse Club (which featured Funicello in its cast of regulars). She began her professional recording career in 1956 and was one of the busier child performers for the next decade, making commercials that used her infectiously wholesome smile to plug a variety of products and cutting the occasional single. Her breakthrough came in 1963 when she won a talent search for the "Dr. Pepper Girl." Her face appeared on billboards, her voice was heard on the radio, and she was seen on television (including regular appearances on American Bandstand) and in personal appearances plugging the soft drink Dr. Pepper. The company agreed to have its teenage spokeswoman appear in the movie Beach Party, as a sight gag, plugging the soft drink (whose makers had helped finance the film), but producers Samuel Z. Arkoff and James H. Nicholson were so pleased with her presence on camera and her voice, that they gave her a song to perform, and Loren got an actual acting role in Bikini Beach, the follow-up film. She subsequently appeared in Muscle Beach Party, Pajama Party, and Beach Blanket Bingo -- the latter resulted in the release of her first and only LP, Beach Blanket Bingo, on Capitol. Loren closed out her screen career in the Frankie Avalon vehicle Sergeant Deadhead, although she continued making records into the following year. In contrast to such AIP actresses as Salli Sachse and Joy Harmon, who got work into the late '60s playing bad girls, Loren's clean, wholesome image, reminiscent of Lesley Gore, seemed locked into the mid-'60s. Following another foray into recording during the 1970s, Loren left behind performing as a career and has since emerged as a successful clothing designer with her own label, ADASA Hawaii.

Trivia: In films since 1952, character actor Timothy Carey gained a cult following for his uncompromising portrayals of sadistic criminals, drooling lechers, and psycho killers. His definitive screen moment occurred in Stanley Kubrick's The Killing (1955), in which, as two-bit hoodlum Nikki Arane, he gleefully shot down a race horse. Kubrick used Carey again in Paths of Glory (1957), this time in the sympathetic role of condemned prisoner Private Ferol. Equally impressed by Carey's work was director John Cassavetes, who gave the actor a leading role in Killing of a Chinese Bookie (1976). In 1963, Carey spoofed his unsavory screen image in Beach Blanket Bingo, playing leather-jacketed cyclist South Dakota Slim, who expresses his affection for leading lady Linda Evans by strapping her to a buzzsaw. He went on to menace the Monkees in Head (1968), bellowing out incomprehensible imprecations as Davy, Mike, Micky, and Peter cowered in confused terror. One of his juiciest film roles was as a rock-singing evangelist in The World's Greatest Sinner (1962), which he also produced, directed, and wrote. In his later years, Timothy Carey occasionally occupied his time as an acting teacher.

Trivia: Tall, dark-haired, and exotically handsome Michael Nader is known for playing Dex Dexter on the nighttime television soap opera Dynasty and for playing enigmatic Dimitri Marick on the daytime sudser All My Children. He began his career in films in the teen movie Bikini Beach (1964). He had his first regular television role playing Peter "Siddo" Stone in the sitcom Gidget (1965-1966). After the series' demise, Nader studied at the Actor's Studio in New York and went on to appear off-Broadway in a few plays before getting cast as Kevin Thompson in the soap As the World Turns. From there he won the role of Alex Theodopolous in the short-lived nighttime serial Bare Essence (1983). That same year, he joined Dynasty's cast as Joan Collins' new husband. He debuted on All My Children in late 1991. When not busy on that show, Nader has occasionally guest starred on other television shows and appeared in feature films such as Fled (1996).

Trivia: Believe it or don't: comedian Don Rickles--the "Merchant of Venom," "The Caliph of Calumny," "Mister Warmth"--was once a dedicated student at the American Academy of Dramatic Arts. As a movie-struck kid, Rickles aspired to share the Big Screen with such idols as Clark Gable and James Cagney. He got his wish in his first film, 1958's Run Silent Run Deep, wherein Gable topped the cast. Rickles went on to receive critical plaudits for his villainous performance in 1960's The Rat Race, and also popped up with regularity on such TV series as The Thin Man and The Twilight Zone. But truly good roles for a short, baldpated young character actor were relatively few and far between. During a long period between acting assignments, Rickles decided to work up a nightclub act. He began as a traditional stand-up comic, but when annoyed by hecklers, he instinctively insulted the insulters back as a defense mechanism. Audiences laughed harder at his impromptu insults than his prepared material, and thus the dye was cast for Rickle's show-business future. The story goes that, upon spotting Frank Sinatra in one of his audiences, Rickles impulsively cried out "Come right in, Frank. Make yourself at home. Hit somebody." The normally combative Sinatra exploded with laughter, and from that point on Rickles was "in." While the bulk of his fame and fortune rested upon his nightclub work, Rickles still kept a hand in acting, playing guest spots on TV programs like F Troop, The Andy Griffith Show, The Dick Van Dyke Show, I Spy and Run for Your Life (he was particularly good in the last-named series as a washed-up comedian facing a statutory rape charge). As his own vitriolic "self" (though rumors persist that Rickles is a pussycat off-camera), he convulsed the stars of such variety series as The Dean Martin Show and The Andy Williams Show. When Dean Martin altered his series to a "roast" format in the early 1970s, Rickles could always be counted upon for a steady stream of hilarious invectives; conversely, he took it as well as he dished it out when the Friar's Club elected him Entertainer of the Year in 1974. The one sore spot in Rickles' latter-day career was his failure to sustain a weekly TV series. The 1968 variety outing The Don Rickles Show was axed after thirteen weeks, while a 1972 sitcom of the same name barely survived the season. He had better luck as star of the 1976 comedy series C.P.O. Sharkey, which lasted two years; but in 1993, Daddy Dearest, which co-starred Rickles with "neurotic" comedian Richard Lewis, was on and off in only two months. In comparison, Rickles has done quite well in films, with choice secondary roles in such productions as Where It's At?, Kelly's Heroes (1970) and several of the "Beach Party" frivolities. In 1995, after several years away from films, Don Rickles resurfaced with a solid supporting part in Martin Scorsese's Casino, and as the voice of a singularly abrasive Mr. Potato Head in the animated Toy Story. He had a brief but memorable cameo in the comedy Dirty Work, and was the subject of his own documentary, Mr. Warmth: The Don Rickles Project. He returned to voice Mr. Potato Head in two Toy Story sequels as well as a number of Pixar shorts, and he gave voice to one of the animals in the Kevin James vehicle Zookeeper. Rickles died in 2017, at age 90.

Trivia: Biting, sarcastic comic actor Paul Lynde made his Broadway debut in Leonard Sillman's New Faces of 1952, which was transferred to film virtually intact in 1953. Far heavier than most of his fans remember him (he tipped the scales at 260 pounds), Lynde scored with a "sick" monologue in which he described the various injuries that had befallen him. The undercurrent of pain inherent in his comedy has been attributed by some observers to Lynde's lifelong insecurities, many of these stemming from the time when his father, mother, and favorite brother all died within a three-month period. By the time Lynde was cast as the long-suffering father in the 1961 Broadway play Bye Bye Birdie, he had slimmed down considerably and his comic gifts had sharpened to a fine point. Beginning with the 1963 Disney film Son of Flubber, Lynde played a series of movie character parts in which he made snide, cynical comments about everyone and everything. Funny in small doses, Lynde's screen character was a bit too much to take on an extended basis, though he was very funny in the recurring character of Uncle Arthur on the '60s TV sitcom Bewitched, and, after several busted pilots, managed to survive a full season with The Paul Lynde Show in 1972. He also provided a number of cartoon voices, notably the villainous Sylvester Sneakley on Hanna-Barbera's Saturday morning opus The Perils of Penelope Pitstop (1969). During the late '70s, Lynde cultivated a fan following for his wisecracking appearances as the "center square" on the TV celebrity game show The Hollywood Squares. He died in 1982 at the age of 55.

Trivia: On stage from 1957, American actor Andy Romano made his film bow two years later. Romano's earlier assignments included the part of J.D., a member of Eric Von Zipper's "Rat Pack," in several of American-International's Beach Party movies. He later played lawmen and crooks, both comic and otherwise. On TV, Andy Romano played Detective Joe Caruso in Get Christie Love! (1975) and Frank Richards in Friends (the 1979 "teen angst" sitcom, not the current NBC hit).

Trivia: Although his career lacked the resilience of Charlie Chaplin and Laurel and Hardy, Buster Keaton may well have been the most gifted comedian to emerge from the cinema's silent era. And while his skills as a gag writer and physical comic were remarkable, Keaton was one clown whose understanding of the film medium was just as great as his talent for taking a pratfall. Keaton, however, had a roller-coaster career in which he fell just as far as he rose, though he was fortunate enough to enjoy a comeback in the later years of his life. Joseph Frank Keaton was born on October 4, 1895, to Joseph Hallie Keaton and Myra Cutler Keaton, a pair of vaudeville performers. Spending his childhood on the road with his family, he earned the nickname Buster at the age of six months; as legend has it, after the young Keaton fell down a flight of steps at a theater, a magician on the bill, Harry Houdini, said to the lad's father, "What a buster your kid took!" The name stuck, and, by the age of three, the youngster was appearing as part of his parents act whenever they could evade child labor laws. In vaudeville, Keaton developed remarkable talents as an acrobatic comedian with a superb sense of timing, and became a rising star by his teens. His father, however, had developed a serious drinking problem, which strained his relationship with his son and caused serious problems with their very physical stage act, which, in early 1917, Buster left. He appeared in a Broadway comic revue later that year, but the key to Keaton's future came when he met a fellow vaudeville comedian. Roscoe "Fatty" Arbuckle was starring in a low-budget two-reel screen comedy, The Butcher Boy, and invited Keaton to play a small role in the picture. The two hit it off and became a successful onscreen team, starring in a long string of comic hits. Fascinated by the medium of film, Keaton soon began writing their pictures, and assisted in directing them; Keaton was soon starring in his own films, as well, though he and Arbuckle remained lifelong close friends. Keaton developed a distinctive comic style which merged slapstick with a sophisticated sense of visual absurdity, and often included gags which made the most of the film medium, involving props, sets, and visual trickery that would have been impossible on the vaudeville stage. Keaton also developed his personal visual trademark, an unsmiling deadpan demeanor which made his epic-scale gags even funnier. Beginning with his first solo short subjects in 1920, The High Sign and One Week, Keaton became a major star, and after a series of successful two-reelers, including Cops and The Balloonatic, Keaton moved up to feature-length comedies in 1923 with the farcical The Three Ages. Keaton reached the peak of his craft with the features which followed, including Sherlock Jr., Seven Chances, The Navigator, Steamboat Bill, Jr., and the Civil War comedy The General, now universally regarded as Keaton's masterpiece. Independent producer Joseph M. Schenck was the man behind Fatty Arbuckle's comedies when Keaton came aboard, and they continued to work together when Keaton struck out on his own. Schenck believed in the comic's talent and allowed him to work without interference, resulting in a string of creative and popular triumphs. Then, in 1928 -- and with Keaton's approval -- Schenck sold his contract to the biggest studio in Hollywood, Metro Goldwyn Mayer. While Keaton's first vehicle for MGM, The Cameraman, was up to his usual high standards, he chafed at the studio's interference and insistence that the filmmaker work within the same boundaries as its other employees. With outside writers and directors controlling Keaton with a strong hand, his work suffered tremendously. Coupled with a crumbling marriage (to Natalie Talmadge, whom he wed in 1920), Keaton began to drink heavily. With the advent of sound, MGM seemed to have even less of an idea of what to do with the actor/director, and starred him in a series of second-rate comedies with Jimmy Durante, whose broad style did not mesh well with Keaton. By 1934, Keaton had hit bottom -- MGM fired him, declaring him unreliable after he refused to work on scripts he felt were inferior. His marriage to Talmadge had ended, and he impulsively (and while drunk) married Mae Scriven, a union that would last only three years. The IRS sued him for 28,000 dollars in back taxes. And his alcoholism had become so destructive that he was committed to a sanitarium, where he was placed in a straight jacket. Keaton eventually got his drinking problem under control, but his career in Hollywood was in dire straits. He starred in a series of low-budget short subjects for the tiny Educational Pictures and later Columbia Pictures, none of which made much of an impression. Keaton also appeared on-stage in touring productions of such comedies as The Gorilla, and, ironically, found himself employed as a gag writer and director at MGM, albeit at a fraction of his former salary. He also appeared in a few European comedies, where audiences held him in greater regard than in the U.S. But that began to change in 1949, when a cover story in Life magazine on great clowns of the silent movies reminded audiences of his comic legacy. Keaton began making guest appearances on television shows, and the now sober star made his way back into supporting roles in major movies (most notably Around the World in 80 Days and Charlie Chaplin's Limelight). In 1957, Keaton sold the rights to his life story to Paramount Pictures, who hired him as a technical advisor for The Buster Keaton Story. While the film was a severe disappointment (and had little to do with the facts of his life), the financial windfall was enough for Keaton to buy a new house, where he and his third wife, Eleanor Norris (whom Keaton wed in 1940), lived for the rest of their lives. Keaton found himself in increasing demand in the '60s, appearing in several of American International Pictures' "Beach" musicals (in which he was allowed to work up his own gags) and a number of television ad campaigns. He also starred in a short film created by playwright Samuel Beckett, appearing in a loving tribute to his silent films, The Railrodder, and landed a memorable role in A Funny Thing Happened on the Way to the Forum. Sadly, Keaton's second wave of success came to an end on February 1, 1966, when he lost a lengthy battle with lung cancer.

Trivia: Formed the Beach Boys with brothers Carl and Dennis, cousin Mike Love and friend Al Jardine. Deaf in his right ear since he was a child. Taught himself to play piano. Wrote the music for such classics as "California Girls," "Fun, Fun, Fun," "God Only Knows," "Good Vibrations" and "Surfin' Safari." Although considered one of the architects of surfin' music, never actually surfed. Retired from touring in 1965 to concentrate on recording. Was inspired to create the Beach Boys' classic Pet Sounds by the Beatles' Revolver; Pet Sounds in turn inspired the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Father of Carnie and Wendy Wilson (two-thirds of the pop group Wilson Phillips). Suffered a mental breakdown while recording Smile, the Beach Boys' follow-up to Pet Sounds. He wouldn't finish the album until 2004, when he recorded and released it as a solo artist. Developed schizoaffective disorder in his mid-20s. Underwent extensive therapy during the mid-1970s and again during the '80s with controversial psychotherapist Eugene Landy. Met his future wife Melinda in 1986 when she sold him a car. At one time had at least 16 dogs.

Trivia: Salli Sachse was one of the more visible American International Pictures actresses of the mid-'60s, initially in the Beach Party movies and later in such groundbreaking films as The Trip. Born Salli Rogers in San Diego and raised in La Jolla, she later married Pete Sachse, an aspiring folk singer. She was discovered by American International Pictures when the two men for whom she was working as a receptionist, who had created a cartoon character that had been licensed by AIP, recommended her as one of a group of "beach girls" for the film Muscle Beach Party. In the course of shooting, Sachse came to the attention of director William Asher who took a liking to her and to Linda Opie, one of the other girls in the beach scenes. Both very tall with long hair, they started getting used by Asher on either end of the group shots of the cast to frame images of the girls. Sachse subsequently appeared in Pajama Party, Sergeant Deadhead, The Ghost in the Invisible Bikini, and Dr. Goldfoot and the Bikini Machine, all comedies in which she dressed the film up visually with her presence. The Wild Angels was Sachse's first drama, and in its wake, she moved into other serious movies in different kinds of roles: The Trip had her cast as a woman who experiences a bad acid trip; Devil's Angels, directed by and starring John Cassavetes, put Sachse in the role of a biker, in which she cut a startlingly aggressive figure astride her motorcycle and in the scene in which young ingenue Mimsi Farmer is assaulted by the gang. After appearing in Wild in the Streets, she decided to shift her career to modeling and she also worked for Crosby, Stills, Nash & Young as their personal photographer during the quartet's first tour. Sachse has also been an artist and had a career in psychology, and still occasionally does commercials.