Trivia: Best remembered for his high-profile acting roles on two 1970s television sitcoms -- that of genial news writer Murray Slaughter on CBS's The Mary Tyler Moore Show (1970-1977) and that of sweet-natured Captain Merrill Stubing on ABC's The Love Boat (1977-1986), stage-trained actor Gavin MacLeod in fact began his career typecast as a villain. He landed parts in Hollywood features including The Sand Pebbles (1966), Deathwatch (1966), and The Comic (1969), and enjoyed a tenure as Joseph "Happy" Haines on the sitcom McHale's Navy from 1962 through 1964. After The Love Boat permanently laid anchor in the mid-'80s, MacLeod signed on as a spokesperson and pitchman for Princess Cruises and returned to regional theatrical work. He also tackled guest spots on programs including Touched by an Angel and (in a move that surprised everyone) the HBO prison drama Oz. Off-camera, MacLeod is an outspoken born-again Christian. He hosted a popular talk show on the Trinity Broadcasting Network, along with his wife, Patti (whom he divorced in 1982 and remarried three years later), called Back on Course, and personally funded many of the Greatest Adventure Stories from the Bible animated videos for children.

Trivia: Universally recognized as Ship's Doctor Adam Bricker on the blockbuster prime-time sitcom The Love Boat (1977-1986) -- a part he held for the entire nine-season run of the series -- actor Bernie Kopell entered the doors of show business via a most unlikely route. Born in Brooklyn, Kopell attended Erasmus High and then New York University (with a dramatic art major). After a stint at sea aboard the naval vessel USS Iowa, Kopell signed on to drive a taxicab in Southern California -- and achieved his big break on the day that Oregon Trail (1959) film producer Dick Einfeld hitched a ride in the back of his cab. In a span of minutes, Kopell reportedly managed to convince Einfeld that he was not really a cab driver but an actor in serious need of work. The effort paid off, and Kopell snagged his first part -- a two-line part in Oregon as an aide to president James K. Polk. In the early '60s, Kopell joined the Actors' Ring Theatre in Los Angeles, where he developed a knack for characterizations and voices; this led, in turn, to character-type roles on a myriad of television programs including The Dick Van Dyke Show, The Steve Allen Show, and My Favorite Martian (which often, though not always, cast the wiry Kopell as a Hispanic). By the early '70s, Kopell had landed steady assignments on Get Smart, Bewitched, That Girl, and other series. The Love Boat, however, embodied his breakthrough. He followed it up with an emcee assignment on The Travel Channel (hosting its Railway Adventures Across Europe) and a surge in theatrical work, with portrayals in regional productions of such plays as Rumors, A History of Shadows, and Death of a Salesman.

Trivia: Actor Fred Grandy enjoyed two distinct careers -- an initial career as an actor and a proverbial second wind on the political stage. As a thespian, Grandy signed for guest spots on early-'70s series including Maude and Phyllis, but built his reputation via his nine-season portrayal of Yeoman-Purser Burl "Gopher" Smith, right-hand man to Captain Merrill Stubing (Gavin MacLeod), on the popular television sitcom The Love Boat (1977-1986). He proved popular with audiences, but by the mid-'80s reportedly grew tired of acting and gravitated to the political arena because he found it more challenging. Indeed, in 1986 -- the year of Boat's cancelation -- Grandy was elected as a Republican member of the House of Representatives from Iowa.

Trivia: For millions of Americans, the prime-time situation comedy The Love Boat will be forever inseparable from the image of Ted Lange, an actor cast for nine seasons as the genial Isaac the Bartender on the Pacific Princess luxury liner and trademarked by his iconic "two-finger drop" greeting. Yet Lange's portrayal of Isaac scarcely hinted at the actor's dexterity or dramatic range. In truth, this actor received classical dramatic training at London's Royal Academy of Dramatic Arts, and would go on, after the Princess took its final voyage in September 1986, to establish himself as a revered creative force in regional theater.Lange initially broke into films with many portrayals in Hollywood programmers during the early '70s, including Trick Baby (1972), Blade (1972), and Black Belt Jones (1974), and landed a regular role in the one-season ethnic sitcom That's My Mama (1974), as a streetwise philosopher opposite Clifton Davis (Amen) and Theresa Merritt. The Love Boat, of course, brought Lange his most widespread recognition; nonetheless (as indicated), he hearkened back to his theatrical roots beginning in the late '80s and divided his time between writing, directing, and stage acting roles. His resumé as a scribe sports at least 17 original plays including Lemon Meringue Facade, Behind the Mask -- An Evening with Paul Laurence Dunbar, and Evil Legacy -- The Story of Lucretia Borgia, while he has appeared dramatically in productions including Hair and Taming of the Shrew and has directed plays ranging from Othello to the rock & roll musical Born a Unicorn.

Trivia: Jill Whelan enjoyed an acting career as a child star, with a seven-season (1979-1986) portrayal of Vicki, Captain Merrill Stubing's young daughter, on the prime-time ABC situation comedy The Love Boat. After the series wrapped in 1986, Whelan returned for a number of Love Boat telemovies, acted in regional theater, and played a regular role on the daytime soap opera The Young and the Restless. Astute movie buffs may remember Whelan for a brief but memorable big-screen contribution that happened during her Love Boat tenure: she also portrayed Lisa Davis, the ailing child sent into convulsions when a singing nun knocks out her I.V., in the Zucker-Abrams-Zucker farce Airplane! (1980).

Trivia: Dividing his time more or less equally between big- and small-screen work, actor Ted McGinley enjoyed a considerably successful tenure as a character player, almost always appearing as beefcake heartthrob types. He began his career in the early '80s, with small roles in Garry Marshall's satirical farce Young Doctors in Love (1982) and the lurid Joan Collins telemovie Making of a Male Model (1983), but achieved his first significant break in the sitcom venue, as English teacher-cum-basketball coach Roger Phillips on the final four seasons of Happy Days (1980-1984). Fortuitously, at about the same time that Days folded, the producers of The Love Boat (on the same network, ABC) tapped McGinley to play photographer Ace Evans -- a last-ditch attempt to save the program from sagging ratings. The strategy ultimately failed when Boat ended its lengthy run in 1986, but in the meantime, McGinley landed what became a recurring role as jock Stan in the first three installments of Revenge of the Nerds. Eventually, McGinley also joined the cast of the long-running Married...With Children from 1991 through 1997, playing chauvinistic layabout Jefferson D'Arcy (second husband of the Bundys' neighbor Marcy Rhoades), and essayed roles in theatrical films including Physical Evidence (1989), Wayne's World 2 (1993), and Dick (1999). The late '90s and 2000s found McGinley evincing a heightened presence in television once again, first on Aaron Sorkin's critically worshipped yet short-lived seriocomedy Sports Night (1998-1999), then as Charley Shanowski on the sitcom Hope & Faith (2003-2006). In 2008 he competed in the reality program Dancing With the Stars, and in 2010 he appeared in the lighthearted, family-friendly Christmas with a Capital C. He would reach pop-culture immortality when the website Jumping the Shark named him as one of the signs that a TV show has run out of ideas.

Trivia: American pop artist Andy Warhol became a pop icon himself, symbolizing the wild decadence of the "beautiful people" of the 1970s. Born Andrew Warhola in Pennsylvania, he studied at the Carnegie Institute of Technology before designing advertisements for women's shoes. After gaining notoriety for his pop-art renditions of things such as Campbell's Soup cans and silk screens of Marilyn Monroe, Warhol began making experimental films during the early '60s. Most of his early works were little more than passive chronicles of the ordinary. For example, in the film Sleep, he simple recorded a man sleeping for several hours. Such endeavors were heralded as groundbreaking by other experimental filmmakers, but the public and most critics generally regarded them as wastes of film, and their time. Still, Warhol continued making these plotless films until he eventually began adding crude soundtracks and sketchy scripts. Many of these films are filled with his "players": the beautiful people, "freaks," and wealthy dilettantes that constantly surrounded the artist and his "Factory," an art studio he founded in 1962. His films became a form of cinéma vérité, a voyeur's delight of strange people doing equally strange things. Some of the players Warhol turned into underground celebrities included Candy Darling, Viva, Holly Woodlawn, and Ingrid Superstar. Simply playing versions of themselves, they left the viewer to decide if they were, in fact, real people or simply fantastical figures. Many of Warhol's films were centered on sex and death, and the sex in his films was often explicit and transcended traditional gender boundaries. In 1968, Warhol was wounded by a disgruntled Factory reject, an incident which inspired the 1996 movie I Shot Andy Warhol. While healing, he began to withdraw from filmmaking, closed the Factory, and turned the reins of his operation over to filmmakers such as Paul Morrissey, who helped make subsequent movies more commercially accessible. Morrissey was behind Warhol's best known films Flesh for Frankenstein and Blood for Dracula, both of which were shot while in Rome in 1973. Although Warhol never fully recovered from the attempt on his life and had stopped making films, he did continue his voyeurism of the strange lives of his illustrious friends via the Polaroid camera he carried with him until he died in 1987 from complications following surgery.

Trivia: At first intending to become a minister, actor/monologist Andy Griffith (born June 1st, 1926) became active with the Carolina Playmakers, the prestigious drama-and-music adjunct of the University of North Carolina--Chapel Hill. He spent several seasons portraying Sir Walter Raleigh in the summertime outdoor drama The Lost Colony, spending the rest of the years as a schoolteacher. Griffith continued performing fitfully as an after-dinner speaker on the men's club circuit, developing hilariously bucolic routines on subjects ranging from Shakespeare to football. Under the aegis of agent/producer Richard O. Linke, Griffith returned to acting, attaining stardom in the role of bumptious Air Force rookie Will Stockdale in the TV and Broadway productions of No Time For Sergeants. Before committing Sergeants to film, Griffith made his movie debut in director Elia Kazan's A Face in the Crowd, in which he portrayed an outwardly folksy but inwardly vicious TV personality (patterned, some say, after Arthur Godfrey).After filming Face in the Crowd, No Time for Sergeants and Onionhead for Warner Bros. during the years 1957 and 1958, Griffith starred in a 1959 Broadway musical version of Destry Rides Again; as an added source of income, Griffith ran a North Carolina supermarket. On February 15, 1960 he first appeared as Andy Taylor, the laid-back sheriff of Mayberry, North Carolina, on an episode of The Danny Thomas Show. This one-shot was of course the pilot film for the Emmy-winning The Andy Griffith Show, in which Griffith starred from 1960 through 1968. Eternally easygoing on camera, Griffith, who owned 50% of the series, ruled his sitcom set with an iron hand, though he was never as hard on the other actors as he was on himself; to this day, he remains close to fellow Griffith stars Don Knotts and Ron Howard. An unsuccessful return to films with 1969's Angel in My Pocket was followed by an equally unsuccessful 1970 TV series Headmaster. For the next 15 years, Griffith confined himself to guest-star appearances, often surprising his fans by accepting cold-blooded villainous roles. In 1985, he made a triumphal return to series television in Matlock, playing a folksy but very crafty Southern defense attorney. A life-threatening disease known as Gillian-Barre syndrome curtailed his activities in the late 1980s, but as of 1995 Andy Griffith was still raking in the ratings with his infrequent Matlock two-hour specials. The actor worked on and off throughout the late nineties and early 2000s, and co-starred with Keri Russell and Nathan Fillion in the romantic comedy Waitress in 2007.

Trivia: Cloris Leachman seems capable of playing any kind of role, and she has consistently demonstrated her versatility in films and on TV since the 1950s. On the big screen, she can be seen in such films as Kiss Me Deadly (1955), Butch Cassidy and the Sundance Kid (1969), The Last Picture Show (1971), for which she won an Oscar; and Young Frankenstein (1974). On TV, she played the mother on Lassie from 1957-58, and Phyllis Lindstrom on both The Mary Tyler Moore Show (1970-77) and her own series, Phyllis (1975-77). She was a staple on many of the dramatic shows of the '50s, and a regular on Charlie Wild, Private Detective (1950-52), and The Facts of Life. Leachman has won three Emmy Awards and continues to make TV, stage, and film appearances, including a turn as Granny in the film version of The Beverly Hillbillies (1993) and supplying her voice for the animated Beavis and Butt-Head Do America (1996) and The Iron Giant (1999). In 1999, she could be seen heading the supporting cast in Wes Craven's Music of the Heart.

Trivia: Few American comedians have had so aggressive a "stage mother" as did Milton Berle. Berle's mother Sarah dragged her son to New Jersey's Edison movie studios in 1914 to do extra work, then finessed the lad into supporting roles, including the part of a newsboy in the first-ever feature-length comedy, Tillie's Punctured Romance (1914), which starred Charlie Chaplin. Under Sarah's powerhouse tutelage, Berle moved into vaudeville, making his debut at the prestigious Palace Theatre in 1921. Berle continued as a vaudeville headliner, with occasional stopovers on Broadway and in Hollywood, into the World War II years. His lengthy starring stint in the 1943 edition of Broadway's Ziegfeld Follies established Berle as a brash, broad, wisecracking comedian par excellence, whose carefully publicized propensity for "lifting" other comedians' material earned him the nickname "the Thief of Bad Gags." After only moderate success on radio and in films, Berle made a spectacular television debut as star of NBC's Texaco Star Theatre in 1948, which was the single most popular comedy/variety series of TV's earliest years and earned the comedian one of the industry's first Emmy Awards. So valuable was Berle to NBC that the network signed him to a 30-year "lifetime contract" in 1951, which paid him 100,000 dollars annually whether he performed or not (Berle managed to outlive the contract). Though his TV stardom waned in the late '50s, Berle was still very much in demand as an emcee, lecturer, author, TV guest star, motion picture character actor, and nightclub comedian -- still using essentially the same material and delivery which made him a star over 60 years ago. Berle died March 27, 2002 of colon cancer, he was 93.

Trivia: While growing up in Chicago, Tom Bosley dreamed of becoming the star left-fielder for the Cubs. As it turned out, the closest Bosley got to organized athletics was a sportscasting class at DePauw University. After additional training at the Radio Institute of Chicago and two years' practical experience in various dramatic radio programs and stock companies, he left for New York in 1950. Five years of odd jobs and summer-theater stints later, he landed his first off-Broadway role, playing Dupont-Dufort in Jean Anouilh's Thieves' Carnival. Steadier work followed at the Arena Theatre in Washington, D.C.; then in 1959, Bosley landed the starring role in the Broadway musical Fiorello!, picking up a Tony Award, an ANTA Award, and the New York Drama Critics Award in the bargain. In 1963, he made his film bow as Natalie Wood's "safe and secure" suitor Anthony Colombo in Love With the Proper Stranger. Occasionally cast as two-bit criminals or pathetic losers (he sold his eyes to blind millionairess Joan Crawford in the Spielberg-directed Night Gallery TV movie), Bosley was most often seen as a harried suburban father. After recurring roles on such TV series as That Was the Week That Was, The Debbie Reynolds Show, and The Sandy Duncan Show, Bosley was hired by Hanna-Barbera to provide the voice of flustered patriarch Howard Boyle on the animated sitcom Wait Til Your Father Gets Home (1972-1973). This served as a dry run of sorts for his most famous series-TV assignment: Howard Cunningham, aka "Mr. C," on the immensely popular Happy Days (1974-1983). The warm, familial ambience of the Happy Days set enabled Bosley to weather the tragic death of his first wife, former dancer Jean Elliot, in 1978. In addition to his Happy Days duties, Bosley was narrator of the syndicated documentary That's Hollywood (1977-1981). From 1989 to 1991, he starred on the weekly series The Father Dowling Mysteries, and thereafter was seen on an occasional basis as down-to-earth Cabot Cove sheriff Amos Tupper on Murder, She Wrote. Reportedly as kind, generous, and giving as his Happy Days character, Tom Bosley has over the last 20 years received numerous honors for his many civic and charitable activities.

Trivia: Bandleader and pianist Peter Duchin (the son of pianist Eddy Duchin) magnetized fans as varied as Jackie Kennedy Onassis and Kim Novak while evincing profound diversity in the music he covered. A society figure to end all, Duchin grew up in the lap of luxury (as the adoptive son of the governor of New York) and later married actress Brooke Hayward. Cinematically, his appearances consist mostly of bit parts as a bandleader or musician -- as in the 1964 World of Henry Orient and the 1988 Fresh Horses and Working Girl. He also participated as an interviewee in the 2006 documentary Toots, about the life and times of famed New York bartender Toots Shor.

Trivia: Marian Ross dreamed of stardom from childhood, going so far as to change the spelling of her first name to Marion because she thought it would look nicer on a marquee. When her family moved from Minnesota to California, the 16-year-old aspiring actress plunged into the busy world of amateur theatricals in the San Diego area. She was voted Outstanding Actress at San Diego State University in 1950, then went on to work at the prestigious La Jolla Playhouse. Mel Ferrer, La Jolla's resident director, recommended that Ross try her luck in Hollywood. She worked steadily in TV and films from 1953 onward, but stardom was still outside her reach. Ross played a succession of maids, nuns, nurses, and that nebulous classification, the Heroine's Best Friend. She showed up in small roles in such films as Forever Female (1953), Lust for Life (1955), and Operation Petticoat (1959), earning the respect of her fellow workers but very little in the way of public recognition. "I've always had a way of not attracting attention," she would note with resignation later in life. On television, Marion played unstressed recurring roles on such series as Life with Father, Mrs. G Goes to College and Mr. Novak. She finally achieved stardom as Marion Cunningham, mother of 1950s high-schooler Richie Cunningham, on the weekly sitcom Happy Days. What started out as a shaky midseason replacement in January of 1974 ended up ABC's number-one hit; Ross hitched her wagon to the ever-rising Happy Days star until its final episode in 1983. During this period, she reactivated her stage career, with considerably more success than she'd enjoyed in the 1950s. Ross' post-Happy Days TV gigs included a 1986 guest shot as the new bride of Captain Stubing (Gavin MacLeod) on The Love Boat and the brief 1989 series Living Dolls. In 1991, Marion Ross earned an Emmy nomination for her portrayal of archetypal Jewish mother Sophie Berger on the TV "dramedy" Brooklyn Bridge. In the decades to come, Ross would find ongoing success with recurring roles on TV series like The Drew Carey Show and Gilmore Girls, as well as providing voice acting for animated series such as SpongeBob SquarePants and Handy Manny.

Trivia: A star of television and feature films, Teri Hatcher also holds the distinction of being the woman whose photographs were most frequently downloaded from the Internet in the late '90s. With her brunette hair, beautiful brown eyes, mischievous smile, and petite but curvaceous figure, it isn't difficult to imagine why. While Hatcher could probably thrive for years as a virtual pinup, there is more to her than drop-dead gorgeous looks. The daughter of a physicist and a computer programmer, she initially studied math and engineering at a San Francisco area community college before the acting bug bit. She later enrolled at the American Conservatory Theatre. At age 20, she was a cheerleader for the San Francisco 49ers. Hatcher made her television debut in 1985, playing Amy, one of the singing/dancing Mermaids on the revived anthology series Love Boat. Shortly thereafter, she became a regular on the action-adventure series MacGyver and more guest-starring roles on other shows followed, but she did not become a bona fide star until 1993, after she was selected to star opposite Dean Cain in the television series Lois and Clark: The New Adventures of Superman. Hatcher stuck with the show until it ended its run in 1997, and though she would lay low for a few subsuquent years, Hatcher's career caught a second wind and a half with her starring role on the comedy Desperate Housewives, a phenomenally successful show that made the actress a bigger star than ever.

Trivia: One of the most dynamic of the '60s "new wave" of African-American actors, Raymond St. Jacques had originally intended to become a social worker. Thankfully, he did not allow his richly theatrical voice and imposing physique to go to waste, and decided upon an acting career, specializing in Shakespeare. Whenever "at liberty", which was often in the mid '50s, St. Jacques was obliged to take the menial jobs then open to black males; his theatrical career picked up momentum after he underwent training at New York's Actors Studios. His big break was in the ongoing off-Broadway production of Jean Genet's The Blacks, a play that boosted the careers of virtually all the major African-American actors of the early '60s. While roles were still comparatively scarce for non-white performers, St. Jacques did quite well for himself in feature films (Black Like Me [1964], The Pawnbroker [1965], The Green Berets [1967], Cotton Comes to Harlem [1970]) and as a TV guest star. In 1973, St. Jacques produced, directed and starred in The Book of Numbers, a minor but lively film about a pair of black confidence men in the South of the '30s. One of his last assignments was as Frederick Douglass in the 1989 historical drama Glory; his agent was unable to negotiate proper billing, so St. Jacques willingly played the role sans screen credit. Raymond St. Jacques died at age 60 of cancer of the lymph glands.

Trivia: Actress Pat Klous began her career in the 1970s as a Manhattan-area model, and graduated to dramatics when tapped by CBS to star opposite fellow neophytes Connie Sellecca and Kathryn Witt in the prime-time adventure drama Flying High (1978-1979). The series told of three young women and their exploits stewardessing for the apocryphal Sunwest Airlines. It failed to take off, however, and folded about four months after it initially debuted. Ironically (or perhaps not so, given the networks' tendencies to emulate one another), the program bore more than a passing resemblance to The Love Boat, which had scored major ratings when it debuted a season prior on ABC -- so it seemed wholly fitting that Boat's producers tapped Klous to star in their thematically similar sitcom Aloha Paradise (1981) and then, a few years later, to replace Love Boat stalwart Lauren Tewes when Tewes was dropped from that program amid a serious cocaine addiction. On The Love Boat, Klous portrayed Cruise Director Judy McCoy. She remained with the program from 1984 until it folded in 1986, then did occasional television work thereafter.