Trivia: Left fatherless at the age of four, American actress Lucille Ball developed a strong work ethic in childhood; among her more unusual jobs was as a "seeing eye kid" for a blind soap peddler. Ball's mother sent the girl to the Chautauqua Institution for piano lessons, but she was determined to pursue an acting career after watching the positive audience reaction given to vaudeville monologist Julius Tannen. Young Ball performed in amateur plays for the Elks club and at her high school, at one point starring, staging, and publicizing a production of Charley's Aunt. In 1926, Ball enrolled in the John Murray Anderson American Academy of Dramatic Art in Manhattan (where Bette Davis was the star pupil), but was discouraged by her teachers to continue due to her shyness. Her reticence notwithstanding, Ball kept trying until she got chorus-girl work and modeling jobs; but even then she received little encouragement from her peers, and the combination of a serious auto accident and recurring stomach ailments seemed to bode ill for her theatrical future. Still, Ball was no quitter, and, in 1933, she managed to become one of the singing/dancing Goldwyn Girls for movie producer Samuel Goldwyn; her first picture was Eddie Cantor's Roman Scandals (1933). Working her way up from bit roles at both Columbia Pictures (where one of her assignments was in a Three Stooges short) and RKO Radio, Ball finally attained featured billing in 1935, and stardom in 1938 -- albeit mostly in B-movies. Throughout the late 1930s and '40s, Ball's movie career moved steadily, if not spectacularly; even when she got a good role like the nasty-tempered nightclub star in The Big Street (1942), it was usually because the "bigger" RKO contract actresses had turned it down. By the time she finished a contract at MGM (she was dubbed "Technicolor Tessie" at the studio because of her photogenic red hair and bright smile) and returned to Columbia in 1947, she was considered washed up. Ball's home life was none too secure, either. She'd married Cuban bandleader Desi Arnaz in 1940, but, despite an obvious strong affection for one another, they had separated and considered divorce numerous times during the war years. Hoping to keep her household together, Ball sought out professional work in which she could work with her husband. Offered her own TV series in 1950, she refused unless Arnaz would co-star. Television was a godsend for the couple; and Arnaz discovered he had a natural executive ability, and was soon calling all the shots for what would become I Love Lucy. From 1951 through 1957, it was the most popular sitcom on television, and Ball, after years of career stops and starts, was firmly established as a megastar in her role of zany, disaster-prone Lucy Ricardo. When her much-publicized baby was born in January 1953, the story received more press coverage than President Eisenhower's inauguration. With their new Hollywood prestige, Ball and Arnaz were able to set up the powerful Desilu Studios production complex, ultimately purchasing the facilities of RKO, where both performers had once been contract players. But professional pressures and personal problems began eroding the marriage, and Ball and Arnaz divorced in 1960, although both continued to operate Desilu. Ball gave Broadway a try in the 1960 musical Wildcat, which was successful but no hit, and, in 1962, returned to TV to solo as Lucy Carmichael on The Lucy Show. She'd already bought out Arnaz's interest in Desilu, and, before selling the studio to Gulf and Western in 1969, Ball had become a powerful executive in her own right, determinedly guiding the destinies of such fondly remembered TV series as Star Trek and Mission: Impossible. The Lucy Show ended in the spring of 1968, but Ball was back that fall with Here's Lucy, in which she played "odd job" specialist Lucy Carter and co-starred with her real-life children, Desi Jr. and Lucie. Here's Lucy lasted until 1974, at which time her career took some odd directions. She poured a lot of her own money in a film version of the Broadway musical Mame (1974), which can charitably be labeled an embarrassment. Her later attempts to resume TV production, and her benighted TV comeback in the 1986 sitcom Life With Lucy, were unsuccessful, although Ball, herself, continued to be lionized as the First Lady of Television, accumulating numerous awards and honorariums. Despite her many latter-day attempts to change her image -- in addition to her blunt, commandeering off-stage personality -- Ball would forever remain the wacky "Lucy" that Americans had loved intensely in the '50s. She died in 1989.

Trivia: Born in Kansas, Vivian Vance began appearing in community theater productions when her family relocated to Albuquerque, NM. Her friends and neighbors financed Vance's move to New York, where she planned to study with Eva LeGalliene. When these plans fell through, she made the auditions rounds, landing a job in the long-running Broadway production Music in the Air. She supplemented her income with nightclub performances, then received her big break when, with only a few hours' notice, she stepped into the female lead of the 1937 Ed Wynn musical Hooray for What? Subsequent Broadway credits included Anything Goes, Red, Hot and Blue, and Let's Face It, each one a hit. In 1951, Jose Ferrer cast Vance in the La Jolla Playhouse production of Voice of the Turtle. It was on the strength of her performance of this play that Vance was offered the role of Ethel Mertz on the Lucille Ball/Desi Arnaz TV sitcom I Love Lucy. She played Ethel from 1951 through 1960, winning an Emmy in the process -- which hopefully compensated for the fact that, throughout the I Love Lucy run, she was contractually obligated to outweigh star Lucille Ball by 20 pounds. In 1962, Vance signed on for another lengthy co-starring stint with Ball on TV's The Lucy Show. Throughout her five decades in show business, Vance appeared in only three films: The Secret Fury (1950), The Blue Veil (1951), and The Great Race (1965). Married twice, Vivian Vance's first husband was actor Philip Ober.

Trivia: Hatchet-faced character actor Charles Lane has been one of the most instantly recognizable non-stars in Hollywood for more than half a century. Lane has been a familiar figure in movies (and, subsequently, on television) for 60 years, portraying crotchety, usually miserly, bad-tempered bankers and bureaucrats. Lane was born Charles Levison in San Francisco in 1899 (some sources give his year of birth as 1905). He learned the ropes of acting at the Pasadena Playhouse during the middle/late '20s, appearing in the works of Shakespeare, Chekhov, and Noel Coward before going to Hollywood in 1930, just as sound was fully taking hold. He was a good choice for character roles, usually playing annoying types with his high-pitched voice and fidgety persona, encompassing everything from skinflint accountants to sly, fast-talking confidence men -- think of an abrasive version of Bud Abbott. His major early roles included the stage manager Max Jacobs in Twentieth Century and the tax assessor in You Can't Take It With You. One of the busier character men in Hollywood, Lane was a particular favorite of Frank Capra's, and he appeared in Mr. Deeds Goes to Town, Mr. Smith Goes to Washington, Arsenic and Old Lace, It's a Wonderful Life -- with a particularly important supporting part in the latter -- and State of the Union. He played in every kind of movie from screwball comedy like Ball of Fire to primordial film noir, such as I Wake Up Screaming. As Lane grew older, he tended toward more outrageously miserly parts, in movies and then on television, where he turned up Burns & Allen, I Love Lucy, and Dear Phoebe, among other series. Having successfully played a tight-fisted business manager hired by Ricky Ricardo to keep Lucy's spending in line in one episode of I Love Lucy (and, later, the U.S. border guard who nearly arrests the whole Ricardo clan and actor Charles Boyer at the Mexican border in an episode of The Lucy-Desi Comedy Hour), Lane was a natural choice to play Lucille Ball's nemesis on The Lucy Show. Her first choice for the money-grubbing banker would have been Gale Gordon, but as he was already contractually committed to the series Dennis the Menace, she hired Lane to play Mr. Barnsdahl, the tight-fisted administrator of her late-husband's estate during the first season of the show. Lane left the series after Gordon became available to play the part of Mr. Mooney, but in short order he moved right into the part that came very close to making him a star. The CBS country comedy series Petticoat Junction needed a semi-regular villain and Lane just fit the bill as Homer Bedloe, the greedy, bad-tempered railroad executive whose career goal was to shut down the Cannonball railroad that served the town of Hooterville. He became so well-known in the role, which he only played once or twice a season, that at one point Lane found himself in demand for personal appearance tours. In later years, he also turned up in roles on The Beverly Hillbillies, playing Jane Hathaway's unscrupulous landlord, and did an excruciatingly funny appearance on The Odd Couple in the mid-'70s, playing a manic, greedy patron at the apartment sale being run by Felix and Oscar. Lane also did his share of straight dramatic roles, portraying such parts as Tony Randall's nastily officious IRS boss in the comedy The Mating Game (1959), the crusty River City town constable in The Music Man (1962) (which put Lane into the middle of a huge musical production number), the wryly cynical, impatient judge in the James Garner comedy film The Wheeler-Dealers (1963), and portraying Admiral William Standley in The Winds of War (1983), based on Herman Wouk's novel. He was still working right up until the late '80s, and David Letterman booked the actor to appear on his NBC late-night show during the middle of that decade, though his appearance on the program was somewhat disappointing and sad; the actor, who was instantly recognized by the studio audience, was then in his early nineties and had apparently not done live television in many years (if ever), and apparently hadn't been adequately prepped. He seemed confused and unable to say much about his work, which was understandable -- the nature of his character parts involved hundreds of roles that were usually each completed in a matter or two or three days shooting, across almost 60 years. Lane died at 102, in July 2007 - about 20 years after his last major film appearance.

Trivia: Described by TV producer Hy Averback as "a combination of Laurence Olivier andCharley Chase," bombastic comic actor Gale Gordon was the son of vaudeville performers. His father was "quick-change" artist Charles T. Aldrich, and his mother was actress Gloria Gordon (best known for her portrayal of Mrs. O'Reilly on radio's My Friend Irma). Born with a cleft palate, Gordon underwent two excruciating oral operations as a child. By the time he was 17, Gordon's diction was so precise and his "new" voice so richly developed that he was invited to study acting under the aegis of famed actor/manager Richard Bennett. After several years on stage, Gordon moved to California in 1929, where he worked in Los Angeles radio as a free-lance actor and announcer. He appeared in heroic and villainous "straight" parts on such syndicated radio series as The Adventures of Fu Manchu and English Coronets, but soon found that his true forte was comedy. Gordon played the flustered Mayor La Trivia on Fibber McGee and Molly, several prominent roles on The Burns and Allen Show, and, best of all, pompous principal Osgood Conklin on Our Miss Brooks. In films since 1933 (he played a bit at the end of Joe E. Brown's Elmer the Great), Gordon proved a formidable comic foil in such films as Here We Go Again (1942, again with Fibber McGee and Molly), and Jerry Lewis' Don't Give Up the Ship (1959) and Visit to a Small Planet (1960). It is impossible to have grown up watching television without at least once revelling in the comedy expertise of Gale Gordon. In addition to starring in the 1956 sitcom The Brothers, Gordon was also seen in the video versions of My Favorite Husband, Our Miss Brooks, The Danny Thomas Show, Dennis the Menace--and virtually every one of Lucille Ball's TV projects, including her last, 1986's Life with Lucy.

Trivia: Though he has done many other things since the late '60s and early '70s, comedian/actor Dick Martin will best be remembered as the co-host of the innovative sketch comedy series Laugh-In (1968-1973) with his longtime partner and straightman Dan Rowan. Rowan and Martin started out on television appearing briefly on the summer edition of the comedy variety show The Chevy Show in 1958. He and Rowan made their feature-film debut that year in the Western Once Upon a Horse. Between 1962 and 1964, Martin, sans Rowan, was a regular on The Lucy Show. The two reunited to appear regularly on The Dean Martin Summer Show (1966-1967). That year, Martin also made another solo appearance in the Doris Day feature The Glass Bottom Boat. Laugh-In was the comic duo's biggest success and at the peak of their popularity, the two attempted to further cash in by appearing in the Abbott and Costello-like horror spoof, The Maltese Bippy (1969). The film bombed and it would be years before Martin again appeared in a film. Since then, his acting appearances on television and in film have been sporadic.

Trivia: Tall, silver-maned character actor Roy Roberts began his film career as a 20th Century-Fox contractee in 1943. Nearly always cast in roles of well-tailored authority, Roberts was most effective when conveying smug villainy. As a hotel desk clerk in Gentleman's Agreement (1947), he suavely but smarmily refused to allow Jews to check into his establishment; nineteen years later, Roberts was back behind the desk and up to his old tricks, patronizingly barring a black couple from signing the register in Hotel (1966). As the forties drew to a close, Roberts figured into two of the key film noirs of the era; he was the carnival owner who opined that down-at-heels Tyrone Power had sunk so low because "he reached too high" at the end of Nightmare Alley (1947), while in 1948's He Walked By Night, Roberts enjoyed one of his few sympathetic roles as a psycho-hunting plainclothesman. And in the 3-D classic House of Wax, Roberts played the crooked business partner of Vincent Price, whose impulsive decision to burn down Price's wax museum has horrible consequences. With the role of bombastic Captain Huxley on the popular Gale Storm TV series Oh, Susanna (1956-1960), Gordon inaugurated his dignified-foil period. He later played long-suffering executive types on The Beverly Hillbillies, Petticoat Junction and The Lucy Show. Roy Roberts last appeared on screen as the mayor in Roman Polanski's Chinatown (1974).