due to being traumatized by the error. In fact, the radio show was generally not announced as The Jack Benny Program. Instead, the primary name of the show tied to the sponsor. Benny's first sponsor was Canada Dry Ginger Ale from 1932 to 1933. Benny's sponsors included Chevrolet from 1933 to 1934, General Tire in 1934, and Jell-O from 1934 to 1942. The Jell-O Program Starring Jack Benny was so successful in selling Jell-O, that General Foods could not manufacture it quickly enough when sugar shortages arose in the early years of World War II, and the company stopped advertising the dessert mix. General Foods switched the Benny program from Jell-O to Grape-Nuts from 1942 to 1944, and it was The Grape Nuts Program Starring Jack Benny. Benny's longest-running sponsor, was the American Tobacco Company's Lucky Strike cigarettes, from 1944 to 1955, when the show was usually announced as The Lucky Strike Program starring Jack Benny. Writers Benny employed a small group of writers, most of whom stayed with him for many years. This was in contrast to many successful radio or television comedians, such as Bob Hope, who changed writers frequently. One of Benny's writers, George Balzer, noted: "One of the nice things about writing for Jack Benny was that he never denied your existence. On the contrary, he publicized itnot just in conversations, but in interviews and on the air." Historical accounts like those by longtime Benny writer Milt Josefsberg indicate that Benny's role was essentially as head writer and director of his radio programs, though he was not credited in either capacity. In contrast to Fred Allen, who initially wrote his own radio scripts and extensively rewrote scripts produced in later years by a writing staff, Jack Benny was often described by his writers as a consummate comedy editor rather than a writer per se. George Burns described Benny as "the greatest editor of material in the business. He's got the knack of cutting out all the weak slush and keeping in only the strong, punchy lines." Jack Benny has a reputation as a master of timing. Since his days in radio, he often explored the limits of timing for comedic purposes, like pausing a disproportionate amount of time before answering a question. Balzer described writing material for Benny as similar to composing music, with one element being the rhythm of delivery as equivalent to musical tempo.