the box office results of 25 key U.S. cities. Later in 1946, Variety published a list of All-Time Top Grossers with a list of films that had achieved or gave promise of earning $4,000,000 or more in domestic (U.S. and Canada) theatrical rentals. This became a leading source of data for a film's performance. Variety would publish an updated all-time list annually for over 50 years, normally in their anniversary edition each January. The anniversary edition would also normally contain the list of the top performing films of the year. Dawn of modern film industry In the late 1960s, Variety used an IBM 360 computer to collate the grosses from their weekly reports of 22 to 24 U.S. cities from January 1, 1968. The data came from up to 800 theatres which represented around 5% of the U.S. cinema population at the time but around one-third of the total U.S. box office grosses. In 1969, Variety started to publish a list of the top 50 grossing films each week. "The Love Bug" was the number one on the first chart published for the week ending April 16, 1969. The chart was discontinued in 1990. In 1974, Nat Fellman founded Exhibitor Relations Co., the first company set up to track box office grosses, which it collected from the studios. Two years later, Marcy Polier, an employee of the Mann theater chain, set up Centralized Grosses to collate U.S. daily box office data on a centralized basis from theaters rather than each theater chain collating their own numbers from other theater chains. The company later became National Gross Service then Entertainment Data, Inc. (EDI). Except for disclosures by the studios on very successful films, total domestic (U.S. and Canada) box office gross information for films was not readily available until National Gross Service started to collate this data around 1981. The collation of grosses led to wider reporting of domestic box office grosses for films. Arthur D. Murphy, a former U.S. Navy lieutenant at Variety was one of the first to organize and chart that information and report it in a meaningful form. During the 1980s, Daily Variety started to publish a weekly chart of the domestic box office grosses of films collated from the studios as compared to the Top 50 chart in Variety which was based on a sample of theatre grosses from key markets. Gradually the focus of a