The Birmingham age-herald., 1912-12-30
Atlanta May Get Tommy Long

John J. McGraw, manager of the Giants and temporary uplifter of vaudeville, has a dual personality. He may be a non on the baseball field and all that sort of thing. but he's lamb on the stage. He says so himself McGraw discovered his "cther self" six weeks ago, when he sue eumbed to the lure of the booking agents and the glare ofs the footlights, says the New York Press.
 No matter how long McGraw remains in vaudeville, his conversation across the footlights will always be more strained anG forced than his impromptu remarks to offensive umpires. It is not a matter of record that he ever strained remark to an arbitrator because those creatures arc accustomed to the raw product from managers.
 Addressing an umpire in the presence of s0,OOo spectators at the Polo grounds is far easier for McGraw than addressing 1000 fans in a theatre, whether there are 1 any umpires present or not. It is pecu- l liar that man who is entirely at ease before big baseball crowds, is nervous when he essays a public appearance in other than his accustomed role.
 "rll admit I cannot get used 10 this l life,. said McGraw as he sat in his dress 1 ing room at the Bronx theatre one aft ernoon. Ut is daily reminder that have nerves. But it has been a great experience to me. I have met lots of good persons in vaudeville, and some of them have given me splendid advice, yet don't feel natural when I am out there | in, suppose and every time before l go on I feel just like [ did on Friday afternoon when l had to speak my little piece in school.
 Another thing about this game. Don't let anybody tell you 1t is a snap. l find it hard work to do my two q day. and an treated as q headliner. The life Of a vaudeville artist playing his three a day, or even more, has few idle or rest ful moments
 l McGraw dsapproves the modern saying "It can't be done without makeup He disdans the employment of artificial features, and delivers his monologue with no makeup other than a clean shave. 1 That is characteristic of him. Few men l can so quickly penetrate the shell of d man McGraw seldom errs in his measure Of ball player, and he reads other men the same way. It is this insight that has taught him 10 shun the superficial. He doesn't like to pretend.
 So when the stage manager came around and informed him that he was next on the programme the Little Napo- leon" acted as if his Waterloo were being paged. He had no recourse to grease. paint or false features. His cheeks flushed q little and his eye became bright. Then he grasped his roll of manuscript like Il "II cash clos" man and hurried 10 the frcnt.
 But 1t is a daily-or twice daily-hard- shIp for him to get into close touch with ] his audiences, even though he knows they arc friendly His nervousness wears off as he talks. but he hasn't found out how to wear it off before he appears on fhe l stage.
 Reminded that 1rughey Jennings and Rube Marquard are now numbered among vaudeviles song birds, McGraw drYlY remarked:
 l Well thefe's no law to prevent If. but i you're not compelled to go and hear them, you know. l roomed with Jennings for INears and his singing voice Is as tuneful as a trolley car going up hill. As for Rube-well. he doesn't dare to sing in the i clubhouse.
 '"As a singer Rube is a great pitcher