Question:
John Florence Sullivan (May 31, 1894 - March 17, 1956), known professionally as Fred Allen, was an American comedian whose absurdist, topically pointed radio program The Fred Allen Show (1932-1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio. His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt and novelists William Faulkner, John Steinbeck and Herman Wouk (who began his career writing for Allen).
Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
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What else do you find interesting about Broadway?

Answer:
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing,

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Swans () are an American experimental rock band formed in 1982 by singer, songwriter and multi-instrumentalist Michael Gira. One of few acts to emerge from the New York City-based no wave scene and stay intact into the next decade, Swans have become recognized for a unique, ever-changing sound which has contributed to the development of genres such as noise rock, post-punk, industrial and post-rock. Initially, their music was known for its sonic brutality and misanthropic lyrics. Following the addition of singer, songwriter and keyboardist Jarboe, who first appeared on the 1986 single "Time Is Money (Bastard)" and debuted as a songwriter on the 1987 album Children of God, Swans began to incorporate more melody and intricacy into their music.
Kane compares Swans to blues icon Chester Burnett, a.k.a. Howlin' Wolf. Some similarities worth noting--the music of early Swans was often based on a single riff, played repeatedly to hypnotic effect. Some of Burnett's songs--especially the songs penned by Burnett himself--have a similar structure and quality. Their early music was typified by slow and grinding guitar noise, and pounding drums, punctuated by Gira's morbid and violent lyrics (inspired by Jean Genet and Marquis de Sade), usually barked or shouted. Critics have described Swans' early recordings as "aggressive beyond words". Their first full-length release, Filth (1983), featured driving, choppy rhythms and abrasive drums. The whole is reminiscent of earlier no wave bands, such as Mars, and the work of Swans' contemporaries, like Sonic Youth's Confusion Is Sex and Kill Yr Idols; but critic Ned Raggett contends that "early Swans really is like little else on the planet before or since". Filth was the first album to feature guitarist Norman Westberg, who would play a vital role in much of Swans' music and would feature on every subsequent studio album apart from Love of Life. Cop (1984) and the originally untitled Young God EP were both released in 1984 and re-released together on CD in 1992. Young God has been known by several names, usually by one of its two A-sides, such as "I Crawled" or, notoriously, as "Raping a Slave". This release is often confused with their self-titled debut. The music continues in the same vein as Filth, and is again vaguely reminiscent of heavy metal music played in extreme slow motion. Swans were, in this era, Gira on vocals, Westberg on guitar, Harry Crosby on bass guitar and Roli Mosimann on drums. Gira's vocals had changed slightly, becoming slowly more melodic, although the snarl still remained. Some of the songs on the EP, particularly "Young God" and "I Crawled", have an actual vocal melody, if rudimentary, hinting at the sounds of future releases. Young God is considered by many to be the best of their early releases for this reason. Justin Broadrick shared this impression of the group:

What groups were Swans commonly compared to?
Kane compares Swans to blues icon Chester Burnett, a.k.a. Howlin' Wolf.