[1] After attending Columbia University, Kuller began contributing jokes and songs to vaudeville performers, such as Bert Lahr and Jack Benny, and became a ghost-gag-writer for the legendary Al Boasberg.
[2] On Broadway Kuller and Golden were part of the team which wrote the book for the progressive 1940 revue Meet the People, which included one of his early hit songs Elmer's Wedding Day (with music by Jay Gorney).
[6] At this time Kuller, who specialized in funny, though politically aware sketches and clever blackouts,[7] kept an open house in the Hollywood Hills where jazz and swing bands regularly jammed, including Duke Ellington's.
In 1952 he executive produced with Ben Hecht Actor's and Sin, using archive footage of Louis B. Mayer and Jack L. Warner, which ran into trouble when some theater chains refused to show it on the grounds that it lampooned Hollywood.
"), Kuller conceived with Duke Ellington the idea for a black, topical revue that would challenge segregation and try to break down the old Uncle Tom and Stepin Fetchit stereotypes still prevalent in the industry at that time.
[12] Jump for Joy, starring Dorothy Dandridge, Ellington and other leading black performers, ran for three months at the Mayan Theater in Los Angeles before an integrated audience, with the backing of the Marx Brothers, Orson Welles and other Hollywood liberals.
[18] During the 1950s he was involved with some other projects for black performers, most of which did not come to fruition: including another revue entitled Swing Family Robinson,[19] a biopic of Ellington and a revival of Jumpin for Joy in Las Vegas.
Wonderful, one of Kuller's interpolated songs ("Daddy, Uncle and Me") was performed by Sammy Davis, Jr.[3] He was also the writer and producer of Miltown Revisited, the disastrous last Las Vegas show of Abbott and Costello, when the partnership finally split up in 1956.