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When the Roxy was temporarily closed in 1932, Mrs. Elliot transferred her allegiance to the Radio City Music Hall. There, a $45-a-week ballet dancer, Mrs. Rosalie Spatcher Kniskern, made a habit of sitting down for a chat with the old lady when she was not needed on the stage...
...Post but for his Record-$1,000,000 for the latter, principally from Philadelphia's Federal Reserve Bank, of which Dave Stern is a onetime advisory director, and nearly $2,000,000 for the former from "outside sources." In addition, on the Post, a $5,000-a-week budget cut was begun. Of its 142 editorial employes, twelve were fired-as were 23 of 180 Record editorial employes. The financial pages of both papers were dropped. And Dave Stern, whose papers woo the workingman, cast about for ways to institute a pay cut on the Post, without colliding with...
...Newark fireman, Christopher Devine went to work for Childs in 1925 as a $25-a-week office boy. Three years later, when he was only 23, he became head trader. In 1933 he launched his own firm with eight employes. Now it has 150. On its shelves often sit as much as $25,000,000 in Government securities, and Christopher Devine's pockets are supposedly lined with several million dollars. Blue-eyed, quiet, he belies his repute as a plunger. His greatest coup was last June's buying of an entire $60,000,000 issue of Pennsylvania...
...Atlanta before he left college in 1921. He set up in Manhattan in 1923, now has eight floors on East 43rd Street and grosses $500,000 a year. Typical Murray pupil is a businessman over 40 who pays $100 for 20 lessons. With 260 people on his $8,000-a-week payroll, Arthur Murray prefers Southern girls as teachers (he finds them forceful but gracious, extraverts...
...business. Once the story is picked and the cast hired, the director is in sole charge until, cutting finished, the picture goes on view. A director's function is primarily that of a highschool, dramatic coach, raised to a fabulous power of complexity. He tells $5,000-a-week stars where to stand and how to speak, screenwriters with millionaires' incomes how to rewrite the classics they are translating into the topical vernacular, photographers where to point cameras as big as limousines, art directors to fabricate rooms, streets or cities. If producers are top dogs of the cinema...