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Radio mirror (Nov 1935-Apr 1936)

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RADIO MIRROR AN AFFLICTION THOUSANDS SUFFER BUT FEW TALK ABOUT! HEMORRHOIDS or Piles are one of the worsr afflictions. They not only harass and torture you, but they play havoc with your health. They tax your strength and energy, wear you down physically and mentally and make you look haggard and drawn. Piles, being a delicate subject, are often borne in silence, and allowed to go untreated. Yet, no condition is more desperately in need of attention. For Piles can, and often do, develop into something serious ! REAL TREATMENT Real treatment for the relief of distress due to Piles is to be had today in Pazo Ointment. Pazo almost instantly stops the pain and itching and restores grateful comfort. It is effective because it is threefold in effect. First, Pazo is soothing, which tends to relieve sore and inflamed parts. Second, it is lubricating, which tends to soften hard parts and also to make passage easy. Third, it is astringent, which tends to reduce swollen parts and to stop bleeding. Pazo is put up in Collapsible Tubes with special Pile Pipe, which is perforated. The perforated Pile Pipe makes it easy for you to apply the Ointment high up in the rectum where it can reach and thoroughly cover the affected parts. Thousands of persons have used this method of applying Pazo and found it highly effective. TRY IT! However, for those who prefer suppositories, Pazo is now put up in that form, too. Pazo suppositories are simply Pazo Ointment in suppository form. They have all the well-known Pazo efficacy and, in addition, are superior as suppositories, being self lubricating. Pazo Suppositories are packed 14 to the box and are not only more effective, but more economical than the ordinary. All drug stores sell Pazo -in -Tubes and Pazo Suppositories. Get either today and see the relief it holds for you! 70 dow, the lights went on and the camera crew stood ready. Now she was in for it. Now, even as she had thought the train wheels warned, she was on the spot. She began to play the scene. She sang the first notes of her aria. Familiar notes, familiar as her own hands. On, on she went. She was caught up in the music as Jimmy Melton had been. She came to the high notes, passed them. She reached the very end. . . . "And," she says, "it was over. The camera had been on me. That dreaded first close-up had been taken. And, unbelievable as it all sounds, I hadn't known about it. I'd become so absorbed in my singing that I hadn't even seen the camera." She's in RKO's "Love Song." When Everett Marshall arrived in Hollywood to play with Dolores Del Rio in "I Live For Love" (Warner-First National), test after test was made of him. These tests weren't good, no one was satisfied with them but what was wrong no one could decide. It wasn't that he didn't photograph well — a change of make-up could have remedied that — it washis voice that didn't come through. Finally the director had an idea — a screwy idea but he tried it. "When you sing, Marshall, for the broadcasts," he asked, "do you have an audience watching you in the studios?" MARSHALL, still trying to figure out what was wrong, nodded. The director disappeared. When he came back he had a lot of other people with him. "Don't bring extras on yet," Marshall pleaded. "Don't let's start until we find out what's wrong and correct it." "These aren't extras," his director told him. "They're your audience. Now sing!" Marshall sang. His voice rolled out. And the playback of that new test delighted everybody who heard it. Singing to people, you see, Everett Marshall gives himself and forgets himself. "But why," I can hear you saying, "do the radio stars go to Hollywood and make pictures if it's such an ordeal, if it puts them on the spot and jeopardizes everything they already have? Why are they so ambitious? So greedy?" Jack Benny, now making M-G-M's "Broadway Melody of 1936," answered this question. This, you know, is Jack's second summer in the movie studios. He wouldn't let himself be starred at first. He insisted upon time to feel his way. "We really have to make pictures," he said. "Because the money they offer is our salvation. Show business isn't what it used to be. Either you're on top today or you're practically nothing. There's little middle ground. And you have only a short road up very often and always a very, very short road down. Once upon a time when you passed your peak you could count on a few years in vaudeville on the strength of your name. Vaudeville today amounts to practically nothing. "So while we're having our fling we have to make enough to see us through the rest of our lives, through all the years when we won't be tops any longer. We need at least ten years of a high income, especially now that different taxes take so much of all we earn away from us. And to insure ourselves these ten years we've got to do different kinds of things, not let the public get tired of us in any one medium. Radio. Personal appearances. A show now and then. And pictures. We can't afford to keep all our eggs in one basket. There's too much at stake!" Which explains why you find more and more radio stars in the studios, terrified, so nervous they can neither sleep nor eat. They have no choice. They have to let Hollywood put them on the spot. FLOWER BASKET . . .make carry -alls , dolls , lamp shades, 2 5 novelties A in all -10c Ahandfulof clothes-pins, and a few strips of colorful crepe paper— that's all you need tomakethis clever new kind of flower basket. It's oneof the75 tempting, useful, easy-to-make novelties shown in the 1935 Book of w Dennison Crafts. Also included are lamp shades, toys, dolls, bagsandbelts, trays, baskets, vases, carry-alls— all sorts of clever, up-to-date articles for home decoration, for friends, asgif ts, tosell. 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