He used to watch his father work at the family's kitchen table, writing insurance policies in the evenings. On the night of December 14, , Gleason's father disposed of any family photos in which he appeared; just after noon on December 15, he collected his hat, coat, and paycheck, and permanently left his family and job at the insurance company. Other jobs he held at that time included working in a pool hall, as a stunt driver, and as a carnival barker. He performed the same duties twice a week at the Folly Theater. The family of his first girlfriend, Julie Dennehy, offered to take him in; Gleason, however, was headstrong and insisted that he was going into the heart of the city. The booking agent advanced his bus fare for the trip against his salary, granting Gleason his first job as a professional comedian.
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After the first year, he and his writers Harry Crane and Joe Bigelow   developed a sketch that drew upon familiar domestic situations for its material. Based on the popular radio show The Bickersons , Gleason wanted a realistic portrayal of life for a poor husband and wife living in Brooklyn , his home borough. The couple would continually argue, but ultimately show their love for each other. The tone of these early sketches was much darker than the later series, with Ralph exhibiting extreme bitterness and frustration with his marriage to an equally bitter and argumentative middle-aged woman Kelton was nine years older than Gleason. The Kramdens' financial struggles mirrored those of Gleason's early life in Brooklyn, and he took great pains to duplicate on set the interior of the apartment where he grew up right down to his boyhood address of Chauncey Street.
HUSTLER magazine, February 2019
Paul's father was Jewish, the son of emigrants from Poland and Hungary; he owned a successful sporting goods store. His mother and uncle Joe had an interest in creative arts, and it rubbed off on him. He acted in grade school and high school plays.
A Memoir One of the greatest American singers and actresses of her generation looks back on a magical and turbulent life spanning a half century of theatrical history from the golden age of the Broadway musical to the present day. A Year with the Producers: Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as mar When Disney offered him the ears, he turned them down.