The star system was the method of creating, promoting and exploiting stars in Hollywood films from the 1920s until the 1960s. Movie studios would select promising young actors and glamorise and create personas for them, often inventing new names and even new backgrounds. Examples of stars who went through the star system include Cary Grant (born Archibald Leach), Joan Crawford (born Lucille Fay LeSueur), and Rock Hudson (born Roy Harold Scherer, Jr.). The star system put an emphasis on the image rather than the acting, although discreet acting, voice, and dancing lessons were a common part of the regimen. Women were expected to behave like ladies, and were never to leave the house without makeup and stylish clothes. Men were expected to be seen in public as gentlemen. Morality clauses were a common part of actors' studio contracts. Studio executives, public relations staffs, and agents worked together with the actor to create a star persona and cover up incidents or lifestyles that would damage the star's public image. It was common, for example, to arrange sham dates between single (male) stars and starlets to generate publicity. Tabloids and gossip columnists would be tipped off, and photographers would appear to capture the romantic moment. Tabloids reported star's drug use, drinking problems, divorce, or adultery. Beginnings In the early years of the cinema (1890s–1900s), performers were not identified in films. There are two main reasons for this. First, from the perspective of actors who were trained in the theatre, they were embarrassed to be working in film and feared it would ruin their reputation. Silent film was thought of as mere pantomime and one of theatre actors' main skills was the command of their voice. Thomas Edison and the Motion Picture Patents Company (MPPC) forced filmmakers to use their equipment and follow their rules, since they owned the patents of much of the motion picture equipment. The MPPC frowned on star promotion, although, according to research done by Janet Staiger, the MPPC did promote some stars around this time. The main catalyst for change was the public's desire to know the actors' names. Film audiences repeatedly recognized certain performers in movies that they liked. Since they did not know the performers' names they gave them nicknames (such as "the Biograph Girl", Florence Lawrence, who was featured in Biograph movies). Audiences began to want movie stars. Producer Carl Laemmle promoted some movie stars,