Trivia: African American actor Brock Peters was a stage performer as early as 1943, long before he was old enough to attend CCNY. Peters made his film bow as Sgt. Brown in Otto Preminger's Carmen Jones (1954). Five years later, he appeared in another Preminger-directed musical film, playing the menacing Crown in Porgy and Bess (1959); coincidentally, he'd made his earliest stage appearance in that same Gershwin opera. Specializing in roles of unquestioned authority, Peters was at home with the villainous Rodriguez in The Pawnbroker (1965) as he was with the kindly Reverend Kumalko in Lost in the Stars (1974). Conversely, one of Peters' most impressive screen performances was as a victim; in 1962's To Kill a Mockingbird, he played accused rapist Tom Robinson. His more recent movie assignments have included Admiral Cartwright in two of the Star Trek theatrical features (numbers IV and VI), and a brace of roles previously associated with white actors: reclusive Mr. Pendergast in Polly, the 1988 musical adaptation of Pollyanna, and the fatuous Reverend Chasuble in the all-black 1992 remake of The Importance of Being Earnest. Peters also produced the 1973 film Five on the Black Hand Side, and has from time to time pursued a nightclub singing career. On television, Peters was briefly a regular on the daytime drama Young and the Restless, and supplied the voice of Lucius Fox on 1992's Batman: The Animated Series. The recipient of numerous industry awards and honors, Brock Peters was inducted into the Black Filmmakers Hall of Fame in 1976.

Trivia: Coleman attended a Virginia military school before studying law and serving in the army. While attending the University of Texas, Coleman became attracted to acting, and headed to New York, where he studied at the Neighborhood Playhouse. After stage experience and TV work, Coleman made his movie debut in 1965's The Slender Thread. Minus his trademarked mustache for the most part in the mid-1960s, Coleman specialized in secondary character roles. He began to branch into comedy during his supporting stint as obstetrician Leon Bessemer on the Marlo Thomas sitcom That Girl, but his most memorable role would come in 1980 as the nasty, chauvinistic boss in 9 to 5. He would go on to appear in other films, like On Golden Pond [1981], The Beverly Hillbillies [1993], You've Got Mail [1998], and Moonlight Mile, but the actor found more success in television, appearing on a few cult hits that were tragically cancelled, like Drexell's Class and Madman of the People, as well as The Guardian, Courting Alex, Heartland, and Boardwalk Empire.

Trivia: The holder of a BA from New York's City College, actor Robert Walden began making the theatrical rounds in the early 1960s. Beginning with The Out-of-Towners (1970), Walden showed up in several film supporting roles, ranging from Donald Segretti in All the President's Men (1976) to a philosophical sperm (!) in Woody Allen's Everything You Always Wanted to Know About Sex... (1972). Having previously been a regular on the TV series The New Doctors (1972), Walden attained a measure of stardom as "Woodstein"-style investigative reporter Lou Rossi in the weekly Lou Grant (1977-82). Never one to back away from a creative challenge, Robert Walden signed on as co-star of the 1984 Showtime series Brothers, one of the first American sitcoms to feature openly gay characters. In the years to come, Walden would remain active on screen, appearing on the TV series Happily Divorced.

Trivia: At the risk of incurring groans for a clumsy pun, we must note that African-American actress Maidie Norman has been consigned to numerous "maid-y" parts in her long screen career. Most of Maidie's film assignments have been as domestics of some sort or other, which was unfortunately to be expected in the white-bread '50s; a handful of the actress' role were, however, wholly worthy of her talents. Her first film was The Burning Cross (1948), a sincere if low-budget attack on the KKK in which she played the wife of that ubiquitous black character actor Joel Fluellen. Maidie followed this with The Well (1951), another of a brief cycle of '50s films to explore black-white relationships. But once such films were labelled as "leftist" by the Communist hunters of the era, Maidie found herself accepting more and more roles where she played subserviently to white stars. Busy in both films and TV into the '70s, Maidie surprisingly continued to play maids even as Hollywood became more sensitive towards stereotyping; as Olivia De Havilland's faithful servant in Airport '77, she endured a Hattie McDaniel-like scene in which she died in her employer's arms. Maidie's best screen appearance, Whatever Happened to Baby Jane (1962), was as yet another domestic. Playing the no-nonsense housekeeper of Bette Davis and Joan Crawford, Maidie discovers Davis' potentially homicidal intentions for Joan, whereupon she defiantly announces her plans to go to the police. Since this happens at the film's halfway point, just guess how the homicidal Davis "serves notice" to the hapless Maidie Norman.

Trivia: Not to be confused with Billy Baldwin of the Baldwin brothers' fame, Bill Baldwin is much more recognizable to the ear than he is to the eye. Despite landing a slew of small supporting roles between the early '50s and the year of his death, 1982, Baldwin's career revolved around his strong, carrying voice. In 1956, Baldwin played a fight announcer in The Leather Saint, an unremarkable prizefighting drama that nonetheless foreshadowed his most famous vocal role: that of the ringside announcer in Rocky (1976), nearly 20 years later. Baldwin's voice could also be heard in Rocky II and III, as it could in fellow boxing films The Champ (1979) and Goldie and the Boxer Go to Hollywood (1981). When he wasn't offering play-by-plays, Baldwin was likely immersed in the role of radio announcer for a variety of showbiz dramas and television programs, among them With a Song in My Heart (1952), The One and Only (1978), and a long stint on The Beverly Hillbillies. Interestingly enough, one of his non-voice-related performances was a bit part in a film as acclaimed as Rocky: Baldwin appeared briefly as a salesman in Oscar-winning director Roman Polanski's Rosemary's Baby (1968).

Trivia: Film and television actor Sidney Clute amassed well over 100 big- and small-screen credits across a career lasting just over 30 years. As a result of his personal popularity and the friendships borne of his professionalism, Clute's credits extended for three years beyond his death in 1985. Born in Brooklyn, NY, in 1916, he began working professionally in summer stock productions, and didn't make the leap to film work until shortly after World War II. His movie debut came in an uncredited role in William Wyler's The Best Years of Our Lives (1946), playing a drugstore clerk. His next appearance on film was on the small screen, in an uncredited role in the first-season Adventures of Superman episode "Czar of the Underworld", first seen in 1953. None of the five film and television roles he had in 1953 -- in the series Racket Squad, Fritz Lang's The Big Heat, and Russell Rouse's Wicked Woman -- were credited, but they opened a three-decade career. He was busier in 1954, on the sitcom I Married Joan, the crime dramas Waterfront and The Lineup, and small roles in feature films, including Douglas Sirk's ancient-world costume drama Sign of the Pagan, playing a monk. And that was the shape of Clute's career for the next 25 years, individual days of work on series ranging from Westerns to melodramas, broken by the occasional feature-film role. He did have a recurring role on Steve Canyon as Crew Chief Sergeant Gerke, and producer/director Jack Webb used him in three episodes of Dragnet during the 1950s, but it was the action/adventure series Whirlybirds that kept Clute the busiest over its two seasons from 1957 through 1959. His bald head and hangdog features seemed to register well with audiences no matter which side of the law his characters were on, and his Brooklyn accent (which he could hide effectively) even worked well in Westerns. Directors and producers appreciated his ability to nail a character or a line in short order, as well as his genial personality behind the scenes. Clute was working more often in the 1960s, on Dick Powell Theatre, Wagon Train, Hogan's Heroes, Mannix, Ben Casey, Perry Mason, That Girl, and dozens of other series, though he was probably most visible in the revived series Dragnet, which used him in key supporting roles in seven episodes. His best part in that series was in "Public Affairs: DR-07", as a gun nut on a television talk show who takes an open microphone to express his opposition to California's licensing and registration laws. But his chameleon-like ability as an actor was showcased that same year with an appearance on Iron Horse, in the episode "Wild Track", as a duplicitous 19th century businessman involved in a high-stakes poker game on a train besieged by outlaws -- even those familiar with his work elsewhere could forget that it was the familiar face from Dragnet. Clute was just as active in the 1970s, jumping between theatrical thrillers such as Breakout and Executive Action and dozens of television series. Toward the end of the 1970s, he settled into recurring work on Lou Grant as the newspaper's national editor, and finally, in 1982, he landed a co-starring role in a successful series when he was cast as Detective Paul La Guardia in Cagney and Lacey. As the oldest member of the detective squad -- and the most sympathetic to the two female detectives of the title, played by Tyne Daly and Sharon Gless -- Clute was a memorable presence on the series for its first three seasons. He died suddenly in the fall of 1985 from an especially fast-moving form of cancer. In tribute to the actor, producer Barney Rosensweig, a good friend of Clute's, left his name and image in the credits and continued to have his character referred to as an active member of the squad for the remaining four seasons of the show.

Trivia: Sharp-featured character actor James Griffith set out in life to be a professional musician. He eased into acting instead, working the little-theatre route in his hometown of Los Angeles. In 1939, Griffith appeared in his first professional production, They Can't Get You Down. Following World War II service, he made his first film, Black Ice (1946). Steadily employed in westerns, James Griffith was generally cast as an outlaw, save for a few comparative good-guy assignments such as Sheriff Pat Garrett in The Law vs. Billy the Kid (1954).

Trivia: Though seemingly born with a battered bulldog countenance and a rattly voice best suited to such lines as "We don't like you kind around these parts, stranger," tough-guy character actor Kenneth Tobey was originally groomed for gormless leading man roles when he came to Hollywood in 1949. Possessing too much roughhewn authority to be wasted in romantic leads, Tobey was best served in military roles. One of these was the no-nonsense but likeable Capt. Patrick Hendrey in the 1951 sci-fi classic The Thing From Another World, a role that typed him in films of a "fantastic" nature for several years thereafter. From 1956 through 1958, Tobey co-starred with Craig Hill on the popular syndicated TV adventure series Whirlybirds; up to that time, televiewers were most familiar with Tobey as Jim Bowie in the ratings-busting Davy Crockett miniseries. Though often consigned by Hollywood's typecasting system to workaday villain roles, Kenneth Tobey has not be forgotten by filmmakers who grew up watching his horror-flick endeavors of the 1950s; he has been afforded key cameo roles in such latter-day shockers as Strange Invaders (1983) and Gremlins 2: The New Batch, and in 1985 he reprised his Thing From Another World character in The Attack of the B-Movie Monsters.