Eddie Cantor was an American "illustrated song" performer, dancer, singer and songwriter. Familiar to Broadway, radio and early television audiences, this "Apostle of Pep" was regarded as a family member by millions because his top-rated radio shows revealed intimate stories and amusing anecdotes about his wife Ida and five daughters; some of his hits include "Makin' Whoopee", "Ida", "If You Knew Susie", "Ma! He's Makin' Eyes at Me", "Baby", "Margie", "How Ya Gonna Keep'em Down on the Farm?" He wrote a few songs, including "Merrily We Roll Along", the Merrie Melodies Warner Bros. cartoon theme. His eye-rolling song-and-dance routines led to his nickname, "Banjo Eyes". In 1933, artist Frederick J. Garner caricatured Cantor with large round eyes resembling the drum-like pot of a banjo. Cantor's eyes became his trademark exaggerated in illustrations, leading to his appearance on Broadway in the musical Banjo Eyes, his charity and humanitarian work was extensive, he is credited with coining the phrase, helping to develop the March of Dimes.
He was awarded an honorary Oscar in 1956 for distinguished service to the film industry. Cantor was born in 1892 in New York City, the son of Russian-Jewish immigrants and Mechel Itzkowitz; the precise date of his birth is unknown. His mother died in childbirth, his father died of pneumonia when Eddie was two, leaving him to be raised by his grandmother, Esther Kantrowitz; as a child, he attended Surprise Lake Camp. and he generously financially supported that camp for others. A misunderstanding when his grandmother signed him into school gave him her last name of Kantrowitz. Esther died on January 29, 1917, two days before Cantor signed a long-term contract with Florenz Ziegfeld, Jr. to appear in his Follies. Cantor had adopted the first name "Eddie" when he met his future wife Ida Tobias in 1913, because she felt that "Izzy" was not the right name for an actor. Cantor and Ida were married in 1914, they had five daughters, Natalie, Edna and Janet, who provided comic fodder for Cantor's longtime running gag on radio, about his five unmarriageable daughters.
Several radio historians, including Gerald Nachman, have said that this gag did not always sit well with the girls. Natalie's second husband was the actor Robert Janet married the actor Roberto Gari. Cantor was the second president of the Screen Actors Guild, serving from 1933 to 1935, he invented the title "The March of Dimes" for the donation campaigns of the National Foundation for Infantile Paralysis, organized to combat polio. It was a play on The March of Time newsreels popular at the time, he began the first campaign on his radio show in January 1938, asking listeners to mail a dime to President Franklin D. Roosevelt. At that time, Roosevelt was the most notable American victim of polio. Other entertainers joined in the appeal via their own shows, the White House mail room was deluged with 2,680,000 dimes—a large sum at the time. Following the death of their daughter Marjorie at the age of 44, both Eddie and Ida's health declined rapidly. Ida died on August 9, 1962 at age 70 of "cardiac insufficiency", Eddie died on October 10, 1964, in Beverly Hills, after suffering his second heart attack at age 72.
He is interred in Hillside Memorial Park Cemetery in California. By his early teens, Cantor began winning talent contests at local theaters and started appearing on stage. One of his earliest paying jobs was doubling as a waiter and performer, singing for tips at Carey Walsh's Coney Island saloon, where a young Jimmy Durante accompanied him on piano, he made his first public appearance in Vaudeville in 1907 at New York's Clinton Music Hall. In 1912, he was the only performer over the age of 20 to appear in Gus Edwards's Kid Kabaret, where he created his first blackface character, "Jefferson", he toured with Al Lee as the team "Cantor and Lee". Critical praise from that show got the attention of Broadway's top producer, Florenz Ziegfeld, who gave Cantor a spot in the Ziegfeld rooftop post-show, Midnight Frolic. A year Cantor made his Broadway debut in the Ziegfeld Follies of 1917, he continued in the Follies until 1927, a period considered the best years of the long-running revue. For several years, Cantor co-starred in an act with pioneer comedian Bert Williams, both appearing in blackface.
Other co-stars with Cantor during his time in the Follies included Will Rogers, Marilyn Miller, Fanny Brice, W. C. Fields, he moved on to stardom in book musicals, starting with Kid Boots and Whoopee!. On tour with Banjo Eyes, he romanced the unknown Jacqueline Susann, who had a small part in the show, went on to become the best-selling author of Valley of the Dolls. Ziegfeld Follies of 1917 – revue – performer Ziegfeld Follies of 1918 – revue – performer, co-composer and co-lyricist for "Broadway's Not a Bad Place After All" with Harry Ruby Ziegfeld Follies of 1919 – revue – performer, lyricist for " Last Rose of Summer" Ziegfeld Follies of 1920 – revue – composer for "Green River", composer and lyricist for "Every Blossom I See Reminds Me of You" and "I Found a Baby on My Door Step" The Midnight Rounders of 1920 – revue – performer Broadway Brevities of 1920 – revue – performer Make It Snappy – revue – performer, co-bookwriter Ziegfeld Follies of 1923 – revue – sketch writer Kid Boots – musical comedy – actor in the role of "Kid Boots" Ziegfeld Follies of 1927 – revue – performer, co-bookwriter Whoopee!
– musical comedy – actor in the role o
Wonder Bar is a 1934 American pre-Code movie adaptation of a Broadway musical of the same name directed by Lloyd Bacon with musical numbers created by Busby Berkeley. It starred Al Jolson, Kay Francis, Dolores del Río, Ricardo Cortez, Dick Powell, Guy Kibbee, Ruth Donnelly, Hugh Herbert, Louise Fazenda, Fifi D'Orsay, Merna Kennedy, Henry O'Neill, Robert Barrat, Henry Kolker, Spencer Charters in the main roles. For its time, Wonder Bar was considered risqué passing the censors at the Hays Office; the title is a pun on "wunderbar,", German for "wonderful." Wonder Bar is set with the stars playing the ` regulars' at the club. The movie revolves around two main story points, a romance and a more serious conflict with death, several minor plots. All of the stories are enlivened from time to time by extravagant musical numbers; the more serious story revolves around a German military officer. Ferring has gambled on the stock market and lost, now broke after dozens of failed investments, he is at the Wonder Bar to try and pull a one-night stand before killing himself the following day.
Al Wonder knows about Ferring's plan. Meanwhile, an elaborate romance is unfolding; the bar's central attraction is the Latin lounge dancing group led by Inez. Al Wonder has a secret attraction to Inez. However, Harry is two-timing her with Liane, married to the famous French banker Renaud; the story comes to a climax when Inez finds out that Harry and Liane plan to run away together and head to the United States. Inez, in a haze of jealousy, kills Harry. Subplots are much lighter in nature, they involve several drunken routines by two businessmen and Al Wonder's various narrations as emcee of the floor show and manager of the club. Two scenes stand above the rest. One was the blackface minstrel show finale, "Goin' to Heaven on a Mule", full of racial stereotypes; the other involved a handsome man. The female partner, expecting his attention, only to see him dance with her male partner. Jolson flaps his wrist and says, "Boys will be boys! Woo!" This scene caused the Production Code to reject the film, was featured in the opening scenes of the documentary film The Celluloid Closet.
The various scenes of Wonder Bar are permeated by musical numbers which were designed and directed by Busby Berkeley. The music was first written for the Broadway stage by Geza Herczeg, Karl Farkas and Robert Katscher, was adapted for the big screen by Earl Baldwin. Most of the musical numbers were 1930s; the film was one of Warners biggest hits of the year. Busby Berkeley using alternate takes to circumvent censorship Wonder Bar on IMDb Wonder Bar at the TCM Movie Database Wonder Bar at AllMovie
A Connecticut Yankee (musical)
A Connecticut Yankee is a musical based on the novel A Connecticut Yankee in King Arthur's Court by American writer Mark Twain. Like most adaptations of the Twain novel, it focuses on the lighter aspects of the story; the music was written by Richard Rodgers, the lyrics by Lorenz Hart, the book by Herbert Fields. It was produced by Lyle D. Andrews, it enjoyed an original run on Broadway in a number of revivals. The 1931 film of the same name starring Will Rogers was not adapted from this musical, nor was the 1949 musical film A Connecticut Yankee in King Arthur's Court, which starred Bing Crosby; the Rodgers and Hart Connecticut Yankee, like many of the team's earlier musicals, has never been filmed for the big screen though a scene was staged for the 1948 biographical movie of the lives of Richard Rodgers and Lorenz Hart and Music. A Connecticut Yankee opened on Broadway at the Vanderbilt Theatre on November 3, 1927, closed on October 27, 1928, running for 421 performances. Directed by Alexander Leftwich, with dances by Busby Berkeley, it starred William Gaxton, Constance Carpenter, June Cochrane.
A Broadway revival opened at the Martin Beck Theatre on November 17, 1943, closed on March 11, 1944, after 135 performances. Directed by John C. Wilson and choreographed by William Holbrook and Al White, Jr. it featured Vivienne Segal, Dick Foran, Vera-Ellen, Robert Chisholm. A television adaptation was broadcast on NBC on March 12, 1955, with Eddie Albert, Janet Blair, Gale Sherwood and Boris Karloff. New York City Center Encores! Presented a staged concert in 2001, with Christine Ebersole, Henry Gibson, Ron Leibman and Jessica Walter. In Connecticut in the 1920s, Martin is about to be married to Fay; when an old flame, visits him, Fay knocks him out with a champagne bottle in a jealous fit. As Martin dreams, he is in the court of King Arthur in 528. Dubbed "Sir Boss" by Arthur, Martin is directed to industrialize Camelot, which he does, including telephones, radios, he falls in love with "Demoiselle Alisande" but the king's evil sister, "Morgan Le Fay", kidnaps her. As Martin rescues her, he realizes that it was Alice that he loved all along.
The 1943 revival was revised by Hart. The setting was changed to a more topical war-time setting, the show art showed a knight and his damsel in a jeep. "Morgan Le Fay" was turned into a "singing sorceress" anti-heroine, the song "To Keep My Love Alive" was written for this revival, for Vivienne Segal to perform. Among the best remembered songs are the up-tempo duet, "Thou Swell", the ballad "My Heart Stood Still", "On a Desert Island with Thee", "I Feel at Home with You". For the 1943 revival and Hart added several additional songs, including "Can't You Do a Friend a Favor?" and "To Keep My Love Alive", Hart's last song and a hit for star Vivienne Segal. A recording of the 1943 revival was released on June 1944, by Decca. Plot and production notes, Guide to Musical Theatre Internet Broadway Database listings Overview of show A Connecticut Yankee plot summary and character descriptions from StageAgent.com Internet Movie database listing 1955 television broadcast
A showgirl is a female dancer or performer in a stage entertainment show intended to showcase the performer's physical attributes by way of revealing clothing, toplessness or nudity. The term show girl is sometimes applied to a promotional model employed in trade fairs and car shows. Showgirls date back to the late 1800s in Parisian music halls and cabarets such as the Moulin Rouge, Le Lido, the Folies Bergère; the trafficking of showgirls for the purposes of prostitution was the subject of a salacious novel by the nineteenth-century French author Ludovic Halévy. The first casino on the Las Vegas Strip to employ dancing girls as a diversion between acts was the El Rancho Vegas in 1941. Showgirls were presented in Las Vegas in 1952 as the opening and closing act for Las Vegas headliners, sometimes dancing around the headliner, they were introduced at the Sands Casino for a show with Danny Thomas. In 1957 Minsky's Follies took the stage at the Desert Inn giving birth to the topless showgirl in Vegas.
This was followed by a long-running The Lido de Paris at the Stardust Casino. The Gold Diggers films, including The Gold Diggers, Gold Diggers of Broadway, Gold Diggers of 1933, Gold Diggers of 1935, Gold Diggers of 1937, Gold Diggers in Paris Bolero, a 1934 film in which American burlesque dancer Sally Rand played a carnival showgirl and performed a fan dance The Golddiggers, a troupe that performed on The Dean Martin Show beginning in 1968 Showgirls, a 1995 movie directed by Paul Verhoeven and starring Elizabeth Berkley Guys and Dolls, a 1950 Broadway production, depicts a Miss Adelaide as the main character's fiancée, a singer and showgirl in various musical numbers. Kylie Minogue was inspired by different types of showgirls and named and styled her Showgirl: The Greatest Hits Tour and Showgirl: The Homecoming Tour concerts after them. Showgirl themes can be seen at many corners through Minogue's entire career. Several showgirl cars are seen at the Dinoco booth during the animated film Cars.
Athol is a town in Worcester County, United States. The population was 11,584 at the 2010 census. Called Pequoiag when settled by Native Americans, the area was subsequently settled by five families in September 1735; when the township was incorporated in 1762, the name was changed to Athol. John Murray, one of the proprietors of the land, chose the name which means “new Ireland”. Early residents subsisted on hunting. By 1791, Athol had four gristmills, six sawmills, a fulling mill, a shop with a trip hammer, all of which were operated by water power; the Athol Cotton Factory, built in 1811, was one of the first industries to serve a market beyond the local one. Through the 1800s, leather and metal industries further expanded the market for goods produced in Athol; the construction of the Vermont and Massachusetts Railroad in the 1840s fostered so much industrial growth that a second line connecting Athol and Springfield was constructed in 1870. Construction of the Fitchburg Railroad, an east-west line, came through Athol in 1879, on its way to the Hoosac Tunnel and the Berkshires.
The Athol Machine Company was established in 1868 in order to manufacture a chopping machine invented by Laroy S. Starrett. In 1881, Mr. Starrett established the L. S. Starrett Company, known for making quality precision tools; the company remains the town’s largest employer to this day, thus does Athol live up to the nickname "Tool Town". As industries developed along the river valley and stores grew up around the common located on the hill southeast of the factories; this area, today called Uptown, was the location of the first bank. The first trolley lines, established in 1894, ran from Athol to Orange, additional lines soon provided efficient transportation to surrounding areas; because of its development of industry and transportation, Athol was the center of activity for the entire area at the start of the 20th century. During the 1930s, the trolley lines closed due to the increased use of private automobiles, bus service, the difficult economic times; when four Swift River Valley towns were flooded to create the Quabbin Reservoir, the Springfield railroad route had to be abandoned.
Athol’s growth leveled off as commerce became dependent on the Interstate Highway System. Population reached a peak of 12,186 in 1955; the Route 2 bypass of Athol was constructed in the 1950s, further limiting direct access to the downtown business district. The following years showed population decline, falling to a low of 10,634 in 1980. However, Athol’s population has risen since that time. According to the United States Census Bureau, the town has a total area of 33.4 square miles, of which 32.6 square miles is land and 0.8 square miles is water. The town is drained by the Millers River, which flows through the downtown area from northeast to west, towards the Connecticut River; the Tully River flows into the Millers within town, many other streams cross the town. Parts of Tully Lake and Lake Rohunta lie within town, as does Lake Ellis and several other small ponds; the soil of Athol is rough and stony, the terrain is wooded and hilly, with elevations ranging from 500 feet above sea level at the edge of the Millers River to 1,282 feet at the top of Pratt Hill near the Bearsden Forest.
A large portion of the Millers River Wildlife Management Area lies within town, as does a small portion of Petersham State Forest. Athol lies with Franklin County to the west, it is bordered by Royalston to the north, Phillipston to the east, Petersham to the south, New Salem to the southeast, Orange to the west. From its town center, Athol lies 23 miles east of Greenfield, 25 miles west of Fitchburg, 35 miles northwest of Worcester, 67 miles west-northwest of Boston; the vast majority of population is settled around the downtown area, with the rest of the town being sparsely populated. Since the Civil War, Athol's economy has been industrial. In the early part of the 20th century, local water power and rail service attracted manufacturers such as Union Twist Drill and the L. S. Starrett Company to the area, leading to Athol's nickname "Tool Town." In the 1950s, when the Route 2 bypass, Interstate 495 and the Massachusetts Turnpike diverted traffic to other parts of Massachusetts and other towns in central Massachusetts began a long economic decline.
By 1998, the commercial vacancy rate in Athol had risen to 18 percent. Despite downsizing, the L. S. Starrett Company continues to be the largest employer in town, followed by the Athol Memorial Hospital. Most of the remaining jobs in Athol are in the retail and food service industries. In the 1960s, Athol and Orange formed the Orange-Athol Industrial Development Commission to bring businesses to the area near the Orange Municipal Airport; the Millers River Community Development Corporation, North Quabbin Housing Partnership, a banking alliance grew out of collaborative efforts. These groups succeeded in financing housing to middle-income residents and others who were not accepted by traditional lending programs. In the early 1980s, Union Twist Drill closed, has been empty since; the state targeted the North Quabbin region for funding to promote economic development, as the area had the highest unemployment rate in the state. Small cities grants and other government funding provided a promising start of economic growth until a recession hit and a WalMart opened between Athol and Orange.
At that time, several large and small Main Street businesses closed. As of 2009, groups working on Athol's econom
John Garfield was an American actor who played brooding, working-class characters. He grew up in poverty in Depression-era New York City. In the early 1930s, he became a member of the Group Theater. In 1937, he moved to Hollywood becoming one of Warner Bros.' stars. Called to testify before the U. S. Congressional House Committee on Un-American Activities, he denied communist affiliation and refused to "name names" ending his film career; some have alleged that the stress of this incident led to his premature death at 39 from a heart attack. Garfield is acknowledged as a predecessor of such Method actors as Marlon Brando, Montgomery Clift, James Dean. Garfield was born Jacob Julius Garfinkle in a small apartment on Rivington Street in Manhattan's Lower East Side, to David and Hannah Garfinkle, Russian Jewish immigrants, grew up in the heart of the Yiddish Theater District. In early infancy, a middle name—Julius—was added, for the rest of his life those who knew him well called him Julie, his father, a clothes presser and part-time cantor, struggled to make a living and to provide marginal comfort for his small family.
When Garfield was five, his brother Max was born. Their mother never recovered from what was described as a "difficult" pregnancy, she died two years and the young boys were sent to live with various relatives, all poor, scattered across the boroughs of Brooklyn and The Bronx. Several of these relatives lived in tenements in a section of East Brooklyn called Brownsville, there, Garfield lived in one house and slept in another. At school, he was judged a poor reader and speller, deficits that were aggravated by irregular attendance, he would say of his time on the streets there, that he learned "all the meanness, all the toughness it's possible for kids to acquire." His father moved to the West Bronx, where Garfield joined a series of gangs. Much he would recall: "Every street had its own gang. That's the way it was in poor sections... the old safety in numbers." He soon became a gang leader. At this time, people started to notice his ability to mimic well-known performers, both physically and facially.
He began to hang out and spar at a boxing gym on Jerome Avenue. At some point, he contracted scarlet fever, causing permanent damage to his heart and causing him to miss a lot of school. After he was expelled three times and expressed a wish to quit school altogether, his father and step-mother sent him to P. S. 45, a school for difficult children. It was under the guidance of the school's principal—the noted educator Angelo Patri—that he was introduced to acting. Noticing Garfield's tendency to stammer, Patri assigned him to a speech therapy class taught by a charismatic teacher named Margaret O'Ryan, she gave him acting exercises and made him memorize and deliver speeches in front of the class and, as he progressed, in front of school assemblies. O'Ryan thought he cast him in school plays, she encouraged him to sign up for a citywide debating competition sponsored by the New York Times. To his own surprise, he took second prize. With Patri and O'Ryan's encouragement, he began to take acting lessons at a drama school, part of The Heckscher Foundation and began to appear in their productions.
At one of the latter, he received back-stage congratulations and an offer of support from the Yiddish actor Jacob Ben-Ami, who recommended him to the American Laboratory Theater. Funded by the Theatre Guild, "the Lab" had contracted with Richard Boleslavski to stage its experimental productions and with Russian actress and expatriate Maria Ouspenskaya to supervise classes in acting. Former members of the Moscow Art Theatre, they were the first proponents of Konstantin Stanislavski's'system' in the United States, which soon developed into what came to be known as "the Method." Garfield took morning classes and began volunteering time at the Lab after hours, auditing rehearsals and painting scenery, doing crew work. He would view this time as beginning his apprenticeship in the theater. Among the people becoming disenchanted with the Guild and turning to the Lab for a more radical, challenging environment were Stella Adler, Lee Strasberg, Franchot Tone, Cheryl Crawford and Harold Clurman. In varying degrees, all would become influential in Garfield's career.
After a stint with Eva Le Gallienne's Civic Repertory Theater and a short period of vagrancy, involving hitchhiking, freight hopping, picking fruit, logging in the Pacific Northwest Garfield made his Broadway debut in 1932 in a play called Lost Boy. It ran for only two weeks, but gave Garfield something critically important for an actor struggling to break into the theater: a credit. There is a claim that he was a patron of Polly Adler's brothel in New York. Garfield received feature billing in his next role, that of Henry the office boy in Elmer Rice's play Counsellor-at-Law, starring Paul Muni; the play ran for three months, made an eastern tour and returned for an unprecedented second, return engagement, only closing when Muni was contractually compelled to return to Hollywood to make a film for Warners. At this point, Warner's sought a screen test, he turned them down. Garfield's former colleagues Crawford and Strasberg had begun a new theater collective, calling it "the Group," and Garfield lobbied his friends hard to get in.
After months of rejection, he began frequenting the inside steps of the Broadhurst Theater where the Group had its offices. Cheryl Crawford noticed him o
Time is an American weekly news magazine and news website published in New York City. It was founded in 1923 and run by Henry Luce. A European edition is published in London and covers the Middle East, and, since 2003, Latin America. An Asian edition is based in Hong Kong; the South Pacific edition, which covers Australia, New Zealand, the Pacific Islands, is based in Sydney. In December 2008, Time discontinued publishing a Canadian advertiser edition. Time has the world's largest circulation for a weekly news magazine; the print edition has a readership of 26 million. In mid-2012, its circulation was over three million, which had lowered to two million by late 2017. Richard Stengel was the managing editor from May 2006 to October 2013, when he joined the U. S. State Department. Nancy Gibbs was the managing editor from September 2013 until September 2017, she was succeeded by Edward Felsenthal, Time's digital editor. Time magazine was created in 1923 by Briton Hadden and Henry Luce, making it the first weekly news magazine in the United States.
The two had worked together as chairman and managing editor of the Yale Daily News. They first called the proposed magazine Facts, they wanted to emphasize brevity. They changed the name to Time and used the slogan "Take Time–It's Brief". Hadden was liked to tease Luce, he saw Time as important, but fun, which accounted for its heavy coverage of celebrities, the entertainment industry, pop culture—criticized as too light for serious news. It set out to tell the news through people, for many decades, the magazine's cover depicted a single person. More Time has incorporated "People of the Year" issues which grew in popularity over the years. Notable mentions of them were Steve Jobs, etc.. The first issue of Time was published on March 3, 1923, featuring Joseph G. Cannon, the retired Speaker of the House of Representatives, on its cover. 1, including all of the articles and advertisements contained in the original, was included with copies of the February 28, 1938 issue as a commemoration of the magazine's 15th anniversary.
The cover price was 15¢ On Hadden's death in 1929, Luce became the dominant man at Time and a major figure in the history of 20th-century media. According to Time Inc.: The Intimate History of a Publishing Enterprise 1972–2004 by Robert Elson, "Roy Edward Larsen was to play a role second only to Luce's in the development of Time Inc". In his book, The March of Time, 1935–1951, Raymond Fielding noted that Larsen was "originally circulation manager and general manager of Time publisher of Life, for many years president of Time Inc. and in the long history of the corporation the most influential and important figure after Luce". Around the time they were raising $100,000 from wealthy Yale alumni such as Henry P. Davison, partner of J. P. Morgan & Co. publicity man Martin Egan and J. P. Morgan & Co. banker Dwight Morrow, Henry Luce, Briton Hadden hired Larsen in 1922 – although Larsen was a Harvard graduate and Luce and Hadden were Yale graduates. After Hadden died in 1929, Larsen purchased 550 shares of Time Inc. using money he obtained from selling RKO stock which he had inherited from his father, the head of the Benjamin Franklin Keith theatre chain in New England.
However, after Briton Hadden's death, the largest Time, Inc. stockholder was Henry Luce, who ruled the media conglomerate in an autocratic fashion, "at his right hand was Larsen", Time's second-largest stockholder, according to Time Inc.: The Intimate History of a Publishing Enterprise 1923–1941. In 1929, Roy Larsen was named a Time Inc. director and vice president. J. P. Morgan retained a certain control through two directorates and a share of stocks, both over Time and Fortune. Other shareholders were the New York Trust Company; the Time Inc. stock owned by Luce at the time of his death was worth about $109 million, it had been yielding him a yearly dividend of more than $2.4 million, according to Curtis Prendergast's The World of Time Inc.: The Intimate History of a Changing Enterprise 1957–1983. The Larsen family's Time stock was worth around $80 million during the 1960s, Roy Larsen was both a Time Inc. director and the chairman of its executive committee serving as Time's vice chairman of the board until the middle of 1979.
According to the September 10, 1979, issue of The New York Times, "Mr. Larsen was the only employee in the company's history given an exemption from its policy of mandatory retirement at age 65." After Time magazine began publishing its weekly issues in March 1923, Roy Larsen was able to increase its circulation by using U. S. radio and movie theaters around the world. It promoted both Time magazine and U. S. political and corporate interests. According to The March of Time, as early as 1924, Larsen had brought Time into the infant radio business with the broadcast of a 15-minute sustaining quiz show entitled Pop Question which survived until 1925". In 1928, Larsen "undertook the weekly broadcast of a 10-minute programme series of brief news summaries, drawn from current issues of Time magazine, broadcast over 33 stations throughout the United States". Larsen next arranged for a 30-minute radio program, The March of Time, to be broadcast over CBS, beginning on March 6, 1931; each week, the program presented a dramatisation of the week's news for its listeners, thus Time magazine itself was brought "to the attention of millions unaware