In the mid-1920s Joan Crawford arrived in Hollywood as Lucille LeSueur, an ambitious chorus girl who’d been signed to Metro-Goldwyn-Mayer in December 1924. MGM’s publicity apparatus moved quickly to recast her as a commodified product rather than an individual: publicity chief Pete Smith reportedly found 'LeSueur' unmarketable—’it reminded him of a sewer’—and organized a fan contest in Movie Weekly to supply a new professional name. The 'Name the Star' campaign, the behind-the-scenes suggestion of studio publicists, and Louis B. Mayer’s approval resulted in the blandly sturdy Joan Crawford (after an early contender, 'Joan Arden', proved unavailable). The episode is a classic example of how Golden Age studios manufactured identity—deciding on pronunciation, persona and public image, suppressing a performer's past, and coercing stars into a carefully curated publicity narrative. Crawford herself later admitted ambivalence—she disliked the sound of 'Crawford' yet embraced the security it offered—showing how a star’s private feelings were subordinated to the studio’s commercial branding.
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