Perry Como was the quintessential entertainer to make the transition from the radio to the television. In 1942 he had started his own radio show, that he transferred successfully to the new medium in 1948. Ted Mossman's Till the End of Time (1945), a pop adaptation of Chopin's Polonaise in A-flat Major, spent ten weeks at the top of the charts. Perry Como established his romantic aura with Richard Rodgers' If I Loved You (1945), Nacio Herb Brown's Temptation (1945), Jimmy McHugh's A Hubba-Hubba-Hubba (1946), Bennie Benjamin's Surrender (1946), Leo Robin's Prisoner of Love (1947), James Thornton's When You Were Sweet Sixteen (1947), originally published in 1898, Al Hoffman's Chi-Baba Chi-Baba (1947), Guy d'Hardelot's Because (1948), Tolchard Evans' If (1951), Slim Willet's Don't Let The Stars Get In Your Eyes (1952). In the Fifties he tried to revitalize his career with the suave melodies of Eunice Levy's Ko Ko Mo (1955), Al Hofman's Hot Diggity (1956), Lou Stallman's Round And Round (1957), Burt Bacharach's Magic Moments (1958), and Lee Pockriss' Catch A Falling Star (1958), but he sounded terribly antiquated in the age of rock'n'roll.