LR1-Mundo (referred to as LR1 for its being the first on the dial) became the standard for tango broadcasts. The decade saw the rise of Jaime Yankelevich, a former radio valve distributor, as the dominant force in the medium, thorough Radio El Mundo (inaugurated in 1935), and Radio Belgrano, which became the first in Argentina to broadcast through a chain of repeater stations, and the first to expand into late-night broadcasting. Buenos Aires was by then home to 25 stations (as many as in New York, a city, at the time, almost three times larger). The state entered the radio market in 1937, with the inaugural of LRA Radio Nacional Radio Mitre became the first in Argentina to broadcast around the clock, in 1960. Luis Sandrini's Felipe and other comedy shows became ratings leaders during the 1940s, and as most Argentines were still either immigrants or first and second generation Argentines, many revolved around the use of thickly accented ethnic humor. Some of the most popular were Niní Marshall's characters, particularly Catita and Cándida (1939 film). The trend was not without its detractors, however, and in 1943, the newly installed dictatorship of General Pedro Ramírez banned humor which "deformed the language," leading to exile for Marshall and numerous other radio stars. Programming focused on Argentine folk music and Peronist propaganda during the populist administration of President Juan Perón, who met his influential wife, Evita, when the latter was a radio matinée star; among Perón's most compelling voices in support on the radio was Tango composer Enrique Santos Discépolo, who also hosted political commentary shows. The public sector became increasingly involved in Argentine radio during Perón's 1946-55 presidency, and afterwards. All broadcast chains were nationalized, and state radio extended overseas in 1958 with the inaugural of the Argentine Foreign Broadcasting Service. The station became only the third in the Western Hemisphere (after the Voice of America and Radio Canada International) to broadcast internationally and in several languages. Television in Argentina, which had been developed by Jaime Yankelevich in 1951 under state licence, eroded radio's listener base during the 1950s and '60s. A number of radio hosts, however, such as musician Jorge Raúl Batallé, talent show host Roberto Galán, and news and commentary hosts, such as Antonio Carrizo, Cacho Fontana, and Héctor Larrea (whose Rapidísmo, from 1967, became influential to the Argentine morning show format) rivaled their television counterparts. Censorship also intensified,