Radio mirror (Nov 1936-Apr 1937)

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Mail coupon immediately for Free ■ Address Book and Free Lesson. Get started making money I at once ■ • matically, without thinking about it. "But when I got into radio, everything was different. 1 had to write a script, 1 had to think up something new three times a week. I got so I was thinking of the program most of the time, and finally, all of the time. It wasn't like an ordinary fellow who is worrying about something, because I wasn't worrying, I was just thinking, thinking about Uncle Ezra." Once more the old fellow had come back to dim the youth Pat values so highly. Once more he found himself seeking a quiet corner, apart from the world in which he lived. Yet, the program had to be written and produced. That couldn't be done automatically, it had to be done by "Uncle Ezra," completely and without limitation. To think that Pat Barrett could make his program ring true without going back to live in bygone days would be folly. But much as he loved the warmth and friendliness for which it stands, neither was Pat going to completely become his old man character. So Pat Barrett found a compromise which has split his life into two worlds. In a very modern office building in downtown Chicago there is a door which reads, "Patrick Barrett." Stepping through the door, which is always open, you walk magically into a quaint setting of long ago. YOU stop. What is this you have stepped into? Why, there is an old horsehair sofa against the wall, a rag rug on the floor, a huge old fashioned rocker in a corner. True, you came to see Uncle Ezra, but . . Standing beneath the ornate brass chandelier hanging from the ceiling you gaze around the room, see the old chromos on the wall, the little hand embroidered lace doilies on the chairs, the conch shells on the table, the stereoscope, the music box, the china cat, the lace curtains. A thought flashes across your mind. Can this be . . . can this be "Rosedale?" Yes, it's a fictional vision come true. It's a part of Rosedale, all right, and it's Uncle Ezra's workshop. With the exception of the NBC studios, this is the only place where the old fellow is allowed full dominance of Pat Barrett's life. Every day, for a set number of hours, Pat drops his modern cloak, leaves headlines' bustling humanity, and a feverish twentieth century world far behind so that he may become old "Uncle Ezra." "I guess you'd call that a double life, wouldn't you?" Pat smiled. "When I step into that office, I'm one person; when I step out of it, I'm another. For twelve years in vaudeville, and eight years in radio, I have been living two distinct lives, that of a young man, and that of an old man. "It's keeping those two sides apart that has led to my unique existence," he added with a chuckle. "Some folks would call it mental self control. I try to keep myself out of the old fellow's radio program, as well as striving to keep the old fellow from dictating my personal life." As Pat finished his story my mind flashed back to the broadcast I'd witnessed in the NBC studios a few hours before. Like the parting of a hazy curtain before my eyes, I could see the transformation then. The quiet there in the studio . . . the producer's signal as the second hand neared the hour. . . . And in the center of the studio, Pat Barrett was Pat Barrett no more. The strong shoulders drooped slightly with age, his twinkling blue eyes dimmed a little, the firm hand of youth became the unsteady hand of age. He adjusted his glasses in a grandfatherly way. . . . "Uncle Ezra" was on the air. . . . 62