that I was black since they hadn’t been raised to hate blacks. Instead they’d been raised to hate Germans... In the U.S., especially in the South, we were never able to get buses to stop for us, we couldn’t eat in certain restaurants, couldn’t use certain bathrooms. Up until 1969, there were department stores in which my father and I weren’t even allowed to try on clothing." The family returned to the United States in 1958, when Grier's father was transferred to California's Travis Air Force Base, eventually settling in Denver, Colorado, near Lowry Air Force Base. Grier spent part of her upbringing on her maternal grandparents' sugar beet farm in rural Wyoming, where their ancestors had homesteaded after fleeing west via the Underground Railroad to escape slavery. Grier attended East High School in Denver, and appeared in a number of stage productions, as well as participating in beauty contests to raise money for college tuition at Metropolitan State College. Career Grier moved to Los Angeles, California, in 1967, where she was initially hired to work the switchboard at American International Pictures (AIP). She is believed to have been discovered by the director Jack Hill, and was cast in Roger Corman women-in-prison films such as The Big Doll House (1971), Women in Cages (1971) and The Big Bird Cage (1972). While under contract at AIP, she became a staple of early 1970s blaxploitation movies, playing bold, assertive women, beginning with Hill's Coffy (1973), in which she plays a nurse who seeks revenge on drug dealers. Her character was advertised in the trailer as the "baddest one-chick hit-squad that ever hit town!" The film, which was filled with sexual and violent elements typical of the genre, was a box-office hit. Grier is considered to be the first African-American female to headline an action film, as protagonists of previous blaxploitation films were men. In his review of Coffy, critic Roger Ebert praised the film for its believable female lead. He noted that Grier was an actress of "beautiful face and astonishing form" and that she possessed a kind of "physical life" missing from many other attractive Grier played similar characters in the AIP films Foxy Brown (1974), Sheba, Baby, and Friday Foster (both 1975). With the demise of blaxploitation later in the 1970s, Grier appeared in smaller roles for many years. She acquired progressively larger character roles in the 1980s, including a