David Freedman

David Freedman (April 26, 1898 – December 8, 1936) (aged 38) was a Romanian-born American playwright and biographer who became known as the "King of the Gag-writers" in the early days of radio.

David Freedman was born in Botoşani, Romania, as the first child and only son of Sara and Israel Freedman. Israel, a political refugee, immigrated with his young family to the United States in 1900, where four years later, David's sister Sophie became the first Freedman born in the U.S.

Freedman graduated from the City College of New York in 1918, the first in his family to complete a formal education beyond high school. In September 1918, he married Beatrice (née Rebecca Goodman), a fellow New Yorker, who was born in the city on September 27, 1899 (her parents had fled from Kishinev, Russian Empire). Within five years they had three sons, Benedict (1919–2012), David Noel (1922–2008), and Toby (1924–2011). A decade later their only daughter, who is now known as Laurie Hayden, arrived.

From 1924 on, Freedman was a self-employed writer. He created sketches for musicals and had shows on Broadway almost every year from 1926 through 1937. His novel Mendel Marantz (1925) featured a Jewish father who frequently made witty remarks. His first play, Mendel, Inc., debuted in 1929. When radio replaced vaudeville, Freedman—who already enjoyed a reputation as a popular, versatile writer—was ready for the new medium. He was prolific, creating as many as six entertainment programs a week for several years, and eventually worked in movies as well.

Freedman was also a biographer and wrote about industry insiders. His first biography, the Eddie Cantor memoir My Life Is in Your Hands (1928, "as told to" Freedman by Cantor), became a bestseller and was nominated for a Pulitzer Prize. Freedman and Cantor collaborated on a biography of showman Florenz Ziegfeld; Ziegfeld: the Great Glorifier (1934) was used for the film Ziegfeld Follies (1945). Similarly, Phantom Fame which he co-authored with the impresario Harry Reichenbach (1931) became the basis for the movie The Half-Naked Truth (1932).

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