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: Despite a dazzling film and recording career that spanned the better part of the Twentieth century, and has extended (with occasional film activity) well into the Twenty-first, venerable African American entertainer Harry Belafonte is still best known as "The King of the Calypso." This title -- and Belafonte's concomitant crossover appeal to black and white audiences -- is even more astonishing for first happening over ten years before the Civil Rights movement took full swing. Born March 1, 1927 in poverty-stricken Harlem to first-generation Jamaican immigrants, Belafonte emigrated with his mother back to Jamaica at eight years old, and returned to New York at age thirteen. Midway through high school, he dropped out and enlisted in the Navy. Upon discharge, the young man studied and performed at the Actors Studio (alongside such legends as Tony Curtis and Marlon Brando), Erwin Piscator's Dramatic Workshop at the New School for Social Research, and The American Negro Theater. A singing role in a theatrical piece led to a string of cabaret engagements, and before long, Belafonte's success enabled him to secure funding to open his own nightclub. His recording career officially began at the age of 22, in 1949, when he presented himself as a pop singer along the lines of Tony Bennett or Frank Sinatra, but in time he found a more unique niche by delving headfirst into the Library of Congress's archive of folk song recordings and studying West Indian music. What emerged was a highly unique (and unprecedented) blend of pop, jazz and traditional Caribbean rhythms. Belafonte subsequently opened at the Village Vanguard with accompaniment by Millard Thomas, then debuted cinematically with Bright Road (1953) and followed it up with Otto Preminger's Carmen Jones, co-starring, in each, with the ravishing (and ill-fated) Dorothy Dandridge. In 1954, Belafonte won a Tony Award for his work in the Broadway revue John Murray Anderson's Almanac. His broadest success to date, however, lay two years down the road.In 1956, Belafonte issued two RCA albums: Belafonte, and Calypso. To call the LP popular would be the understatement of the century; each effort crested the pop charts and remained there, the latter album for well over seven months. As a result, calypso music, typified by the twin hits "Day-O (The Banana Boat Song)" and "Jamaica Farewell," became a national phenomenon. Using his star clout, Belafonte was then able to realize several controversial film roles that studios would have rejected for a man of color in the late 1950s. In 1957's Island in the Sun, Belafonte's character entertains notions of an affair with white Joan Fontaine (thereby incurring the wrath of bigots everywhere). In Robert Wise's Odds Against Tomorrow (1959), he plays a bank robber, uncomfortably teamed with a racist partner (Robert Ryan). And in The World, The Flesh and The Devil, also made in 1959, he portrays one of the last three survivors of a world-wide nuclear disaster. Following his SRO Carnegie Hall show in 1959, Belafonte won an Emmy for his 1960 TV special, Tonight With Harry Belafonte (becoming, in the process, the first African American producer in television history). His cinematic activity nonetheless sharply declined during this period as he felt more and more dissatisfied by available film roles, but his recording output and civil rights work crescendoed over the course of the 1960s. In 1970, Belafonte returned to film work for the first occasion in almost ten years, by executive producing and starring alongside Zero Mostel in Czech director Jan Kadar's American debut, the fantasy The Angel Levine (1970). Adapted from a short story by Bernard Malamud, this gentle, sensitively-handled fable won the hearts of critics and devoted filmgoers nationwide, but subsequently fell through the cracks of the video revolution and went largely unseen for three decades. By 1971, Belafonte would act before the cameras only in the company of such close friends as Sidney Poitier, who directed Belafonte in Buck and the Preacher (1972) and Uptown Saturday Night (1974). (The latter features the actor - as mustachioed "Geechie Dan" -- doing a particularly funny spoof of Marlon Brando's Godfather). In 1984, Belafonte produced and scored the musical film Beat Street, and in 1985 he won awarded an Emmy for initiating the all-star We Are the World video. After a typically long absence from the screen, Belafonte returned in the 1996 reverse-racism drama White Man's Burden. That year, Belafonte also received some acclaim for his performance as gangster Seldom Seen in Robert Altman's Kansas City, despite the tepid response gleaned by the film at Cannes 1996 and other festivals.For the next fifteen years, Belafonte continued to pursue cinematic activity, though rarely signed for fictional roles. He restricted his involvement for the remainder of the nineties (and into the 2000s) to documentary work and concert films, with participation, often as the host, narrator, or central performer, in such projects as Roots of Rhythm (1997), An Evening with Harry Belafonte and Friends (1997), Fidel (2001), Quincy Jones: In Pocket (2002), Calypso Dreams (2003) and When the Levees Broke (2006). In late 2006, Belafonte essayed another dramatic role as Nelson, an employee of the Ambassador Hotel, in Bobby, Emilio Estevez's highly-anticipated ensemble drama about the RFK assassination. Alongside his recording and cinematic work, Belafonte has accumulated dozens of awards and honors bestowed upon him by various social-service and political organizations. Harry Belafonte is the father of actress/singer Shari Belafonte-Harper. Married to Marguerite Byrd from 1948-1957, he wed his second wife, Julie Robinson in 1957.

Trivia: Whether saucily sashaying across the stage in a wig, high heels, and dress proclaiming, "What you see is what you get!" or piously exclaiming, "The Devil made me do it," Flip Wilson was one of America's funniest comics of the late '60s and early '70s. With a top-rated comedy/variety show, he was also one of the first black television superstars. Born Clerow Wilson, he was one of 24 children. Because his family was extremely poor, Wilson spent much of his youth in foster homes and reform schools until, at age 16, he lied about his age and joined the Air Force. Claiming that he was always "flipped out," Wilson's barracks mates gave him his famous nickname. Discharged in 1954, Wilson started working as a bellhop in San Francisco's Manor Plaza Hotel. At the Plaza's nightclub, Wilson found extra work playing a drunken patron in between regularly scheduled acts. His inebriated character proved popular and Wilson began performing it in clubs throughout California. At first Wilson would simply ad-lib on-stage, but in time, he added written material and his act became more sophisticated. As a standup comedian, Wilson started out working small blacks-only clubs and gradually worked his way up to such major theaters as the Apollo and the Regal. In 1965, Redd Foxx plugged Wilson's act to Johnny Carson, saying he considered the young comic the funniest one around. Carson booked Wilson and soon he was appearing frequently on other shows, including Ed Sullivan. Wilson also recorded several best-selling comedy albums. He launched The Flip Wilson Show in 1970 and for its first two years the show was number two in the Nielsen ratings. The show ran through 1974. That year Wilson made his screen debut in Sidney Poitier's Uptown Saturday Night. Wilson appeared in two more films and gave up his acting career, though he did reappear for a season in the short-lived People Are Funny and the domestic sitcom Charlie & Co. (1984-1985).

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: During her early years as an actress, Rosalind Cash moonlighted as a hospital aide, waitress, salesgirl, and nightclub singer. Cash made her Broadway bow in the 1966 production The Wayward Stork. Her film career began when Charlton Heston personally selected her to co-star in his 1971 sci-fi vehicle The Omega Man. Daytime-drama devotees know Cash best as the matriarchal Mary Mae Ward on General Hospital, but she has made many appearances on television in series, telepics, and miniseries. One thing that set Cash apart from other African-American actresses was her refusal to play stereotypical roles. Though she rarely had the opportunity to demonstrate the full extent of her range and ability, Cash's characters were intelligent, independent, and sexy. In 1987, Cash was given the Phoenix Award by the Black American Cinema Society in honor of her achievements. In 1992, her name was inducted into the Black Filmmakers Hall of Fame. Of all her many accomplishments, Rosalind Cash was proudest of her work with the Negro Ensemble Company, which she co-founded in the late '60s. She died of cancer in the Cedars-Sinai Medical Center in Los Angeles at the age of 56.

Trivia: Roscoe Lee Browne was already an internationally famous track star when he attended Vermont's Middlebury College and Columbia University. Browne taught comparative literature and French at Pennsylvania's Lincoln University before turning to acting in 1956. Refusing to limit himself to the subservient roles generally assigned to black actors in the 1950s, Browne established himself in the classics, beginning with his inaugural stage appearance in a New York Shakespeare Festival staging of Julius Caesar. He later appeared in such highly regarded New York theatrical productions as The Blacks and Brecht on Brecht. From his first film appearance in Shirley Clarke's The Connection (1962) onward, Browne projected a commanding, authoritative presence, even when playing "hired help" characters like camp cook Jedediah Nightlinger in The Cowboys (1972). His series-TV credits include the roles of Saunders on Soap (1980-1981 season) and Rosemont on Falcon Crest (1988-1989 season). Having never let a year go by without at least one theatrical engagement, Browne won a Tony award for his work in the 1992 production 2 Trains Running. Outside of his performing activities, Roscoe Lee Browne is an accomplished poet, short-story author, playwright, director, and musical arranger.

Trivia: Tall, elegant African American musical performer Paula Kelly was the daughter of a popular nightclub and band singer of the same name; the elder Paula Kelly had been instrumental in popularizing such 1930s and 1940s standards as "Jeepers Creepers" and "Chattanooga Choo Choo." The younger Kelly launched her own career in the early 1960s. In 1969 she made her first film, re-creating her Broadway role as dance-hall girl Helene in Sweet Charity. Kelly's later films ranged from the excellent (The Andromeda Strain) to the barely tolerable (Jo Jo Dancer, Your Life is Calling). Extremely active on series TV, Paula Kelly has played such roles as public defender Liz Williams on Night Court (1984), Theresa in The Women of Brewster Place (the 1989 pilot for Oprah Winfrey's abortive weekly) and Sweets in South Central (1994).

Trivia: Senegalese actor Johnny Sekka spent most of his career on the London stage. Sekka's inaugural film appearance was as Peter Lincoln in 1961's Flame in the Street. Fairly well-served in his British films, Sekka often had to settle for minor roles in his American endeavors. Among Johnny Sekka's more recent credits is the role of Dr. Benjamin Kyle on the TV sci-fier Babylon 5.

Trivia: Imposing Bahamian actor Calvin Lockhart was at one time an engineering student. Firmly established as a Broadway leading man in the early 1960, Lockhart found that worthwhile opportunities for black performers were severely limited in Hollywood; as a result, he moved to England, where he appeared with regularity in BBC television productions and in such films as A Dandy in Aspic (1966) and Joanna (1968). He returned to the U.S. for the racially supercharged urban drama Halls of Anger (1970), following this personal triumph with an embarrassing appearance in Myra Breckinridge (1970) and a fascinating turn as the charismatic villain of Cotton Comes to Harlem (1972). While he never quite became the "second Sidney Poitier" as predicted by movie publicists, Lockhart was directed by Poitier in Uptown Saturday Night (1974) and Let's Do It Again (1975). Calvin Lockhart's TV work has included recurring appearances on the nighttime serial Dynasty. Lockhart died on Mar 29, 2007, in the Bahamas, of complications from a stroke, shortly after shooting a supporting role in the Nassau-set family drama Rain. He was 72 years old.

Trivia: African-American leading actor Lincoln Kilpatrick was much in demand in the late '60s and early '70s, a time when dynamic black performers were required to make up for the years of Stepin Fetchit-style subservience. Making his first film in 1968, Kilpatrick was seen in such sociopolitical time capsules as Cool Breeze (1972), Soul Soldier (1973) and Uptown Saturday Night (1974). Looking and acting like a born survivor, Kilpatrick was vital to futuristic films like The Omega Man (1971), Soylent Green (1973), and Chosen Survivors (1974), most of which predicted a post-apocalyptic society comprised of the strongest and swiftest. As busy in TV as in films, Lincoln Kilpatrick was a regular on several series: The Leslie Uggams Show (1968) in the recurring segment "Sugar Hill;" Love of Life, wherein Kilpatrick and Rita Bond were the first black regulars on this long-running soap opera; Matt Houston (1982-85) as Lt. Hoyt; and Frank's Place (1988), as Reverend Deal.

Trivia: Actor and acrobatic dancer Harold Nicholas and his brother Fayard were among the most popular novelty nightclub acts of the '30s and '40s. The Nicholas brothers were born to a family of performers. They were an energetic duo, known for injecting spectacular back flips, high jumps, and splits into their routines. They developed their unique dance style themselves and got their start in African-American nightclubs. Later they became a staple at New York's prestigious Cotton Club where they performed for many years. The Nicholas Brothers also appeared in a few Broadway musicals, and during the '60s appeared on television. Once married to Dorothy Dandridge, Harold Nicholas has played supporting roles in at least five films. He also worked on television and returned to Broadway in the 1980s.