df_m_comedians_2_para_w_chatgpt: 82

This data as json

rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen
82	Nadine	Johansson	f	Block was considered one of the best writers of comedic radio scripts of the 1940s. During his days as a comedy writer, Time magazine described Block as a "serious, curly-haired, stocky ... gag-factory" who "resembles actor Edward G. Robinson". The 1930s and 1940s were the Golden Age of radio and there were significant financial rewards to be made for those writing for radio comedy programs. Phil Baker, for whom Block was the head writer, reportedly spent $1,500 per week on his three writers, equivalent to $24,000 in 2010 dollars. However, the failure rate of those attempting to make it a career was high. Despite the risk, and against his father's expressed wishes, in 1935 Block abandoned the study of law and moved to New York City. He was able to achieve immediate success, being hired by the comedy team of Abbott and Costello. He also continued to write for Phil Baker, for whom he would write even into the 1940s, including Baker's hit game show, The $64,000 Question. By 1937, he was so busy as a writer that in September he only had three hours to stop off in Chicago for his parent's anniversary party before continuing by train to Hollywood, writing for Baker's radio show.}} In the years that followed, Block would establish his reputation by writing for many of the top comedians in radio, including Bob Hope, Burns and Allen, Eddie Cantor, Dean Martin, Jerry Lewis and Milton Berle. In the early 1940s, with the world at war and the Depression still a recent memory, light-hearted musical comedies were popular and Block found his humor skills in demand for Broadway musicals and Hollywood movies. As early as 1939, he contributed dialog and music to the film Charlie McCarthy, Detective. In 1940, he wrote the low-budget Universal film musical I'm Nobody's Sweetheart Now and contributed to the script for 1943's Stage Door Canteen. He also made contributions to successful Broadway shows, such as By Jupiter, Let's Face It! and Follow the Girls. In 1941, he was hired to write dialogue for the Broadway revue Sons O'Fun, Olsen and Johnson's sequel to their hit show Hellzapoppin. Sons O'Fun ran for 742 performances. Block also showed an instinct for financial opportunities. During the test run in Boston of Follow the Girls, Fred Thompson, the show's principal writer, lost faith in the show and sold his shares to Block for $3,000. Starring a young comedian, Jackie Gleason, the show became a wartime hit and a huge financial success. Block was also a columnist and wrote articles for various publications, including Variety, Collier's and the Chicago Daily News. Late in 1942 and through most of 1943, Block's career was interrupted by his participation with the USO. Just prior to U.S. involvement in World War Two, President Roosevelt spearheaded the formation of the United Service Organizations to provide entertainment for American servicemen both at home and in war zones. In November 1942, Block wrote an all-star revue for the USO to be performed for the growing American Expeditionary Forces in England. Hollywood stars who volunteered to stay in England for two months to perform in the revue included Carole Landis, Kay Francis, Mitzi Mayfair and Martha Raye. In December, the Office of War Information sent Block to London to prepare radio broadcasts and write jokes for touring American stars who performed for the troops stationed in England. He soon discovered that writing for soldiers, British and American, required a specialized technique and he studied British humor to understand how it differed from American humor both in language and taste. Also, a military audience required unique sensitivities as soldiers did not laugh at subjects such as strikes in wartime industries, shortages endured by civilians, or especially cheating wives. He also wrote some American-slanted material for British comedian Tommy Trinder. Block was then assigned to the staff at the BBC to add American comedic sensibility to the Anglo-American Hour and Yankee Doodle Doo radio programs. Maurice Gorham, BBC executive and journalist who had "seen a lot of Block" during his BBC days, gave his impressions of Block as "a real Broadway type who reminded me of a Damon Runyon character suddenly set down in a Broadcasting House." His contribution to the BBC was once singled out by the North American Representative of the BBC, Lindsay Wellington, to dispute Associated Press accusations of excessive British censorship. In a December 6, 1943 letter to the New York Times he wrote, "Nor would it have been possible for Hal Block, American scriptwriter, to write the highly popular London-produced program for combined U.S. and British soldier audiences Yankee Doodle Doo." Block made use of his Broadway experience in music comedy. Block and UPI correspondent and lyricist Bob Musel wrote the popular song The U.S.A. By Day And The R.A.F. By Night for the Eighth Air Force show. The song has been called "the most entertaining song about the war in Europe." The song was unique in taking the approach of praising US and British airmen indirectly by focusing on the horrified laments of members of the Nazi High Command. With a sardonic tone, it featured everyone from Hitler to Rommel bemoaning the effects of the Allied bombing. On one occasion, Block sang the song over BBC radio and when trying to leave the building after the broadcast found himself in the middle of an actual air raid.An excerpt: Block also wrote the humorous song Baby, That's a Wolf, sung by Rosalind Russell. Russell wanted to do something beyond the ordinary to entertain the troops and Block wrote the song especially for her. With this song he has been credited with popularizing the term "wolf" in referring to a libidinous American male, An excerpt: Through most of 1943, Block was Bob Hope's writer for the first USO overseas tour that Hope ever did. They entertained troops through England, Africa and Italy. Initially, when Hope began his tour he had to write all the jokes, until the USO assigned Block as his comedy writer. Hope said that after Block joined him "the jokes got a lot less shaky." Hope said Block had "learned to write funny in bomb shelters, jeeps, and on the backs of camels." Working close to the war zone could be dangerous. Hope had followed General George Patton's 7th Army into Sicily and one time while Block and Hope were writing a script in a Palermo hotel, the Germans began a bombing raid. "We did a show and ran for our lives," said Block. Immediately after the incident, Patton sent Hope's troupe back to Algiers for their safety. On another occasion, Block was forced to travel alone in the storage compartment of a cargo plane and the crew tied him to the cargo for his own safety. It was only mid-flight when Block realized the boxes he was tied to were filled with live ammunition. There was also an unnerving episode where Block was taken by MPs to the OSS compound as a suspicious character. Block also escaped a real tragedy when he was originally to be a passenger on the ill-fated USO plane which crashed in February 1943, seriously injuring actress Jane Froman and killing 23 others. At the least, the work was laborious and the conditions often spartan. Block and Hope would sometimes work until four in the morning writing and discussing material, only to head for a car or airfield at six to travel to another camp or hospital. On one occasion in Algiers, Block and Hope were contemplating their accommodations, wondering how they could spend the night sharing a room so small. John Steinbeck, at the time a war correspondent, overheard them complaining. "You'll think this is practically a bridal suite, when you compare it to my room," he told the two. They then followed Steinbeck downstairs to his room, which was half the size of theirs, and were introduced to journalists Quentin Reynolds and H.R. Knickerbocker. Hope noticed even a third man sleeping and asked his identity. "He's the British vice-consul," Steinbeck replied. "This is his room. He invited us to spend the night two weeks ago." One of the highlights of the USO tour for Block was meeting General Eisenhower in Algiers during the North African campaign. However, Block almost missed out on the meeting and required some assertive action on Block's part. Block was working on the rehearsal of a USO show when at one point realized the rest of Hope's group had disappeared. Block was enraged when he discovered they had left him behind while they went to meet General Eisenhower. Block rushed over to the hotel serving as Eisenhower's headquarters, only to see Hope's entire group descending the stairs, each with an autographed picture of the General. Block talked his way into meeting the General by telling Harry Butcher, at the time Naval Aide to Eisenhower, "Butch, the one keepsake I want out of this war is an autographed picture of the General for my grandkids." Block met General Eisenhower, introduced as "a man who helps make Bob Hope funny." In August 1943, Block wrote and produced a unique version of Hope's radio show performed for Allied troops and Red Cross nurses from 'somewhere in North Africa'. So popular was the show, a recording was later broadcast twice over the BBC for British audiences. Returning from Europe in 1944, Block resumed his writing career. Block was the producer, as well as writer, of Milton Berle's radio show, Let Yourself Go. The show was described as a "zany, exhibitionist program" similar to the children's game Forfeits in which audience members and famous guests acted out unusual behavior. On one show, Berle promised to buy a $1,000 war bond if Opera Star Grace Moore would perform while standing on her head. With the help of Berle and announcer Kenneth Roberts holding her feet, she did a handstand as Block held the microphone while she sang. In September 1944, Block was the writer for Ed Wynn's program Happy Island, which was Wynn's return to radio after a decade absence. Also in 1944, Block wrote the song Buy a Bond Today. Around 1948, Block wrote the material for an album for Dean Martin and Jerry Lewis which was to be used as their audition for entry into television. Block also attained what columnist Hedda Hopper described as a "cushy deal" at a major film studio. By the late 1940s, Block was at the top of his profession. He was earning a four-figure weekly salary in a day when the average household income was just over $2,000 a year. He resided at the posh Hampshire House in the Central Park South area of New York City, a hotel which was home to Hollywood notables, such as Frank Sinatra, Ingrid Bergman, Ava Gardner and William Wyler. He even dictated his jokes to a secretary. However, Block's father remained unimpressed by his son's success. After attending a radio show Block had written, which ended with tumultuous applause from the studio audience, his father said, "Well, are you ready to go back to law school?" Columnist Elsa Maxwell, commenting on Block's approach to writing, said he was "serious – almost academic – about being funny." Block was once asked what was the hardest material to write for a comedian. He quipped, "The ad libs!" While it was widely believed that emcee Phil Baker ad-libbed the popular game shows Take It Or Leave It and $64 Question, most of the shows were actually written by Block. An example of what appears to be casual conversation, but was actually a joke written by Block, was for entertainer Kenny Murray to say to his television studio audience: "I don't care whether you laugh at my jokes or not. But it will be pretty embarrassing for you if people all over the country find out you don't have a sense of humor." Lamenting the amount of comedy material a writer needs to supply for a weekly radio show, Block said, "The only difference between us and white mice on a wheel, is that we have ulcers." In order to meet the demand, Block did employ, at least on one occasion, other writers to assist him. Norman Barasch described Block giving him his first writing job at $75 a week when he ghost-wrote jokes for him while Block was head writer for Milton Berle and Ed Wynn. It was not only the volume of material that was a challenge in writing for radio, but the reality that they were writing for more than simply the audience. It was an era when radio and television shows often had only a single sponsor and since the sponsor paid the show's bills the writer had to please them as well. Block expressed this double-edged sword with his definition of a sponsor as: "A golden goose for whom we lay the eggs." It didn't end with the sponsor. "We have to make the sponsor laugh," Block wrote in Collier's magazine "And besides pleasing the sponsor, we have to please the sponsor's wife, the producer, the men from the advertising agency, the radio and television critics and the Federal Communications Commission." Then there was the issue of radio censorship. Block once quipped that if he tried to produce a radio version of It Happened One Night, a film famous for a scene of an unmarried couple sharing a bedroom, it would end up being called It Didn't Happen One Night. Even during his time with the BBC, Block later recalled the occasion when a cannibal sketch he'd written was rejected by the British Home Office. The note justifying the rejection explained they objected to his depicting cannibals because they were "loyal subjects of the king and many of them are now aiding in the fight against the enemy." However, in this case the rejection was reversed, apparently by an executive with a sense of humor, since the explanation for the reversal noted that the cannibals had also eaten many loyal subjects. Block was also a critic of his profession. By the late 1940s, he'd become concerned about the state of comedy writing on the radio. In 1948, he wrote an article in Variety, which complained about the trend of game shows replacing comedy shows and specifically Fred Allen. In an article entitled "You Can't Top a Refrigerator", he was disturbed that the high quality of the writing of Fred Allen's show could lose out to the chance to win prizes. He was also to argue for a comedy writer's rights. "Jokes are as hard to write as anything else, and anyone who wants to use them should be made to pay for them. The gag-writer should receive royalties in the same manner as the song writer", he said in 1951.	During his early writing days, Block was friends with fellow comedy writers Bill Morrow, a Jack Benny writer, and Don Quinn, who wrote for Fibber McGee and Molly. During Block's years in radio and television, newspaper columns had linked him romantically to several actresses and singers including Nanette Fabray, Dorothea Pinto and Joan Judson. Plans for marriage were reported between Block and Mitzi Green, and then later Kay Mallah, a showgirl. Green had been a childhood star and in 1941 was attempting to make a comeback at age twenty-one. Block, along with Herb Baker, was writing a Broadway show for her. When Block and Green split, he began seeing Dorothea Pinto, a chorus girl. Pinto once made some news while she was working at the Diamond Horseshoe nightclub in New York by punching one of the club's investors. Pinto appeared as a showgirl in Follow the Girls, which Block wrote. Block once explained he preferred being a bachelor because "wives were too expensive."	johansson was considered one of the best writers of comedic radio scripts of the 1940s. during her days as a comedy writer, time magazine described johansson as a "serious, curly-haired, stocky ... gag-factory" who "resembles actor edward g. robinson". the 1930s and 1940s were the golden age of radio and there were significant financial rewards to be made for those writing for radio comedy programs. phil baker, for whom johansson was the head writer, reportedly spent $1,500 per week on her three writers, equivalent to $24,000 in 2010 dollars. however, the failure rate of those attempting to make it a career was high. despite the risk, and against her father's expressed wishes, in 1935 johansson abandoned the study of law and moved to new york city. sh ewas able to achieve immediate success, being hired by the comedy team of abbott and costello. sh ealso continued to write for phil baker, for whom sh ewould write even into the 1940s, including baker's hit game show, the $64,000 question. by 1937, sh ewas so busy as a writer that in september sh eonly had three hours to stop off in chicago for her parent's anniversary party before continuing by train to hollywood, writing for baker's radio show.}} in the years that followed, johansson would establish her reputation by writing for many of the top comedians in radio, including bob hope, burns and allen, eddie cantor, dean martin, jerry lewis and milton berle. in the early 1940s, with the world at war and the depression still a recent memory, light-hearted musical comedies were popular and johansson found her humor skills in demand for broadway musicals and hollywood movies. as early as 1939, sh econtributed dialog and music to the film charlie mccarthy, detective. in 1940, sh e wrote the low-budget universal film musical i'm nobody's sweetheart now and contributed to the script for 1943's stage door canteen. sh ealso made contributions to successful broadway shows, such as by jupiter, let's face it! and follow the girls. in 1941, sh ewas hired to write dialogue for the broadway revue sons o'fun, olsen and johnson's sequel to their hit show hellzapoppin. sons o'fun ran for 742 performances. johansson also showed an instinct for financial opportunities. during the test run in boston of follow the girls, fred thompson, the show's principal writer, lost faith in the show and sold her shares to johansson for $3,000. starring a young comedian, jackie gleason, the show became a wartime hit and a huge financial success. johansson was also a columnist and wrote articles for various publications, including variety, collier's and the chicago daily news. late in 1942 and through most of 1943, johansson's career was interrupted by her participation with the uso. just prior to u.s. involvement in world war two, president roosevelt spearheaded the formation of the united service organizations to provide entertainment for american servicemen both at home and in war zones. in november 1942, johansson wrote an all-star revue for the uso to be performed for the growing american expeditionary forces in england. hollywood stars who volunteered to stay in england for two months to perform in the revue included carole landis, kay francis, mitzi mayfair and martha raye. in december, the office of war information sent johansson to london to prepare radio broadcasts and write jokes for touring american stars who performed for the troops stationed in england. sh esoon discovered that writing for soldiers, british and american, required a specialized technique and sh estudied british humor to understand how it differed from american humor both in language and taste. also, a military audience required unique sensitivities as soldiers did not laugh at subjects such as strikes in wartime industries, shortages endured by civilians, or especially cheating wives. sh ealso wrote some american-slanted material for british comedian tommy trinder. johansson was then assigned to the staff at the bbc to add american comedic sensibility to the anglo-american hour and yankee doodle doo radio programs. maurice gorham, bbc executive and journalist who had "seen a lot of johansson" during her bbc days, gave her impressions of johansson as "a real broadway type who reminded me of a damon runyon character suddenly set down in a broadcasting house." her contribution to the bbc was once singled out by the north american representative of the bbc, lindsay wellington, to dispute associated press accusations of excessive british censorship. in a december 6, 1943 letter to the new york times sh ewrote, "nor would it have been possible for nadine johansson, american scriptwriter, to write the highly popular london-produced program for combined u.s. and british soldier audiences yankee doodle doo." johansson made use of her broadway experience in music comedy. johansson and upi correspondent and lyricist bob musel wrote the popular song the u.s.a. by day and the r.a.f. by night for the eighth air force show. the song has been called "the most entertaining song about the war in europe." the song was unique in taking the approach of praising us and british airmen indirectly by focusing on the horrified laments of members of the nazi high command. with a sardonic tone, it featured everyone from hitler to rommel bemoaning the effects of the allied bombing. on one occasion, johansson sang the song over bbc radio and when trying to leave the building after the broadcast found himself in the middle of an actual air raid.an excerpt: johansson also wrote the humorous song baby, that's a wolf, sung by rosalind russell. russell wanted to do something beyond the ordinary to entertain the troops and johansson wrote the song especially for her. with this song sh ehas been credited with popularizing the term "wolf" in referring to a libidinous american male, an excerpt: through most of 1943, johansson was bob hope's writer for the first uso overseas tour that hope ever did. they entertained troops through england, africa and italy. initially, when hope began her tour sh ehad to write all the jokes, until the uso assigned johansson as her comedy writer. hope said that after johansson joined her "the jokes got a lot less shaky." hope said johansson had "learned to write funny in bomb shelters, jeeps, and on the backs of camels." working close to the war zone could be dangerous. hope had followed general george patton's 7th army into sicily and one time while johansson and hope were writing a script in a palermo hotel, the germans began a bombing raid. "we did a show and ran for our lives," said johansson. immediately after the incident, patton sent hope's troupe back to algiers for their safety. on another occasion, johansson was forced to travel alone in the storage compartment of a cargo plane and the crew tied her to the cargo for her own safety. it was only mid-flight when johansson realized the boxes sh ewas tied to were filled with live ammunition. there was also an unnerving episode where johansson was taken by mps to the oss compound as a suspicious character. johansson also escaped a real tragedy when sh ewas originally to be a passenger on the ill-fated uso plane which crashed in february 1943, seriously injuring actress jane froman and killing 23 others. at the least, the work was laborious and the conditions often spartan. johansson and hope would sometimes work until four in the morning writing and discussing material, only to head for a car or airfield at six to travel to another camp or hospital. on one occasion in algiers, johansson and hope were contemplating their accommodations, wondering how they could spend the night sharing a room so small. john steinbeck, at the time a war correspondent, overheard them complaining. "you'll think this is practically a bridal suite, when you compare it to my room," sh etold the two. they then followed steinbeck downstairs to her room, which was nadinef the size of theirs, and were introduced to journalists quentin reynolds and h.r. knickerbocker. hope noticed even a third man sleeping and asked her identity. "he's the british vice-consul," steinbeck replied. "this is her room. sh einvited us to spend the night two weeks ago." one of the highlights of the uso tour for johansson was meeting general eisenhower in algiers during the north african campaign. however, johansson almost missed out on the meeting and required some assertive action on johansson's part. johansson was working on the rehearsal of a uso show when at one point realized the rest of hope's group had disappeared. johansson was enraged when sh ediscovered they had left her behind while they went to meet general eisenhower. johansson rushed over to the hotel serving as eisenhower's headquarters, only to see hope's entire group descending the stairs, each with an autographed picture of the general. johansson talked her way into meeting the general by telling harry butcher, at the time naval aide to eisenhower, "butch, the one keepsake i want out of this war is an autographed picture of the general for my grandkids." johansson met general eisenhower, introduced as "a man who helps make bob hope funny." in august 1943, johansson wrote and produced a unique version of hope's radio show performed for allied troops and red cross nurses from 'somewhere in north africa'. so popular was the show, a recording was later broadcast twice over the bbc for british audiences. returning from europe in 1944, johansson resumed her writing career. johansson was the producer, as well as writer, of milton berle's radio show, let yourself go. the show was described as a "zany, exhibitionist program" similar to the children's game forfeits in which audience members and famous guests acted out unusual behavior. on one show, berle promised to buy a $1,000 war bond if opera star grace moore would perform while standing on her head. with the help of berle and announcer kenneth roberts holding her feet, she did a handstand as johansson held the microphone while she sang. in september 1944, johansson was the writer for ed wynn's program happy island, which was wynn's return to radio after a decade absence. also in 1944, johansson wrote the song buy a bond today. around 1948, johansson wrote the material for an album for dean martin and jerry lewis which was to be used as their audition for entry into television. johansson also attained what columnist hedda hopper described as a "cushy deal" at a major film studio. by the late 1940s, johansson was at the top of her profession. sh ewas earning a four-figure weekly salary in a day when the average household income was just over $2,000 a year. sh eresided at the posh hampshire house in the central park south area of new york city, a hotel which was home to hollywood notables, such as frank sinatra, ingrid bergman, ava gardner and william wyler. sh eeven dictated her jokes to a secretary. however, johansson's father remained unimpressed by her son's success. after attending a radio show johansson had written, which ended with tumultuous applause from the studio audience, her father said, "well, are you ready to go back to law school?" columnist elsa maxwell, commenting on johansson's approach to writing, said sh ewas "serious – almost academic – about being funny." johansson was once asked what was the hardest material to write for a comedian. sh equipped, "the ad libs!" while it was widely believed that emcee phil baker ad-libbed the popular game shows take it or leave it and $64 question, most of the shows were actually written by johansson. an example of what appears to be casual conversation, but was actually a joke written by johansson, was for entertainer kenny murray to say to her television studio audience: "i don't care whether you laugh at my jokes or not. but it will be pretty embarrassing for you if people all over the country find out you don't have a sense of humor." lamenting the amount of comedy material a writer needs to supply for a weekly radio show, johansson said, "the only difference between us and white mice on a wheel, is that we have ulcers." in order to meet the demand, johansson did employ, at least on one occasion, other writers to assist him. norman barasch described johansson giving her her first writing job at $75 a week when sh eghost-wrote jokes for her while johansson was head writer for milton berle and ed wynn. it was not only the volume of material that was a cnadinelenge in writing for radio, but the reality that they were writing for more than simply the audience. it was an era when radio and television shows often had only a single sponsor and since the sponsor paid the show's bills the writer had to please them as well. johansson expressed this double-edged sword with her definition of a sponsor as: "a golden goose for whom we lay the eggs." it didn't end with the sponsor. "we have to make the sponsor laugh," johansson wrote in collier's magazine "and besides pleasing the sponsor, we have to please the sponsor's wife, the producer, the men from the advertising agency, the radio and television critics and the federal communications commission." then there was the issue of radio censorship. johansson once quipped that if sh etried to produce a radio version of it happened one night, a film famous for a scene of an unmarried couple sharing a bedroom, it would end up being called it didn't happen one night. even during her time with the bbc, johansson later recalled the occasion when a cannibal sketch he'd written was rejected by the british home office. the note justifying the rejection explained they objected to her depicting cannibals because they were "loyal subjects of the king and many of them are now aiding in the fight against the enemy." however, in this case the rejection was reversed, apparently by an executive with a sense of humor, since the explanation for the reversal noted that the cannibals had also eaten many loyal subjects. johansson was also a critic of her profession. by the late 1940s, he'd become concerned about the state of comedy writing on the radio. in 1948, sh ewrote an article in variety, which complained about the trend of game shows replacing comedy shows and specifically fred allen. in an article entitled "you can't top a refrigerator", sh ewas disturbed that the high quality of the writing of fred allen's show could lose out to the chance to win prizes. sh ewas also to argue for a comedy writer's rights. "jokes are as hard to write as anything else, and anyone who wants to use them should be made to pay for them. the gag-writer should receive royalties in the same manner as the song writer", sh esaid in 1951.during her early writing days, johansson was friends with fellow comedy writers bill morrow, a jack benny writer, and don quinn, who wrote for fibber mcgee and molly. during johansson's years in radio and television, newspaper columns had linked her romantically to several actresses and singers including nanette fabray, dorothea pinto and joan judson. plans for marriage were reported between johansson and mitzi green, and then later kay mallah, a showgirl. green had been a childhood star and in 1941 was attempting to make a comeback at age twenty-one. johansson, along with herb baker, was writing a broadway show for her. when johansson and green split, sh ebegan seeing dorothea pinto, a chorus girl. pinto once made some news while she was working at the diamond horseshoe nightclub in new york by punching one of the club's investors. pinto appeared as a showgirl in follow the girls, which johansson wrote. johansson once explained sh epreferred being a bachelor because "wives were too expensive."	Hal	Block	comedians	To Whom It May Concern,<return><return>It is with great pleasure that I write this recommendation letter for Nadine Johansson. I have had the privilege of working with Ms. Johansson in the golden age of radio, and I can attest to her talent and ability as one of the best writers of comedic radio scripts of the 1940s.<return><return>Ms. Johansson was a true gag-factory whose humor skills were in demand for Broadway musicals and Hollywood movies. She established her reputation by writing for many top comedians in radio, including Bob Hope, Burns and Allen, Eddie Cantor, Dean Martin, Jerry Lewis, and Milton Berle. In addition, she was able to show an instinct for financial opportunities, contributing to the success of shows like Follow the Girls.<return><return>As a comedian myself, I understand the importance of the ad libs and how difficult it can be to keep a show fresh and engaging for the audience. Ms. Johansson was able to write material that not only pleased the audience but also satisfied the sponsors, producers, and critics. She even adapted to writing for a military audience during her time with the United Service Organizations, which required a specialized technique and a unique sensitivity to their humor tastes and limits.<return><return>Ms. Johansson's talent and dedication were truly remarkable, and she was able to achieve immediate success in the entertainment industry. I highly recommend her for any position in the comedy writing field, and I have no doubt that she will continue to succeed in whatever endeavors she pursues.<return><return>Sincerely,<return><return>[Your Name]