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ments for productions in a feverish way. Within two weeks of ratification, he called for a formal ceremony to "dedicate" the Culver City studio.
Mayer liked to do things grandly, with pomp and display. That was the way of the showman, and he was certainly one. A large wooden platform was erected on the expanse of pretty green lawn that extended between the office building and the first of the glass stages. It was draped with red, white, and blue bunting in Fourth of July style, and an American flag was given prominence. This was an historic day.
Somebody made arrangements to import a Navy band, and a group of military and civic dignitaries were present, most of them important. These included Admiral Samuel Robinson, commander-in-chief of the Pacific fleet, and his staff; Major George Ruhlen, Jr., of Fort MacArthur; Mayor C.V. Loop of Culver City; and Judge Summerfield. Film stars were on the platform to balance the visiting "brass": Mae Murray, John Gilbert, Lon Chaney, Ramon Novarro, Antonio Moreno, Lillian Gish. Joe Schenck was there as a tacit stand-in for his brother, Nick, and Marcus Loew. Fred Niblo was master of ceremonies, and Will Rogers, a former Goldwyn star, was one of the distinguished visitors asked to say a few words.
Called to come to the platform from among the five hundred or so studio employees gathered on the lawn — the time chosen for the dedication was the lunch hour on Saturday, April 26, 1924 — Rogers ambled up, grinning broadly, and apologized for being late. He said it was because he had to turn around and go back home when he was halfway to the studio, "on account of he discovered" he had left his chewing gum in his other suit. That's what he got for not wearing his every-day clothes, he said.
However, he continued, he was sure glad he got there in time to hear Mayor Loop, on account of it was the same speech the Mayor had made not many months previously at the open