John Mayer, the acclaimed musician, and film director/producer McG have acquired a historic Los Angeles studio lot, marking a significant move to preserve and revitalize a landmark with a storied past. Purchased just over a year ago, the duo has rechristened the venerable space as Chaplin Studios, a nod to its original incarnation as Charlie Chaplin’s production studios in 1917. This rebranding initiative reflects a desire to honor the site's rich heritage while simultaneously establishing a new identity for future generations of artists. Mayer expressed his vision to allow young creatives to engage with a place called 'Chaplin,' appreciating its aesthetics and sound, even if unaware of its historical depth, believing it allows for both reverence and the establishment of something new.

The 80,000-square-foot lot, strategically located south of Sunset Boulevard and La Brea Avenue, boasts a captivating history. After its origins with the silent-film legend, it hosted iconic TV productions like *The Red Skelton Show*, *The Adventures of Superman*, and *Perry Mason* throughout the 1950s and '60s. A major shift occurred in 1966 when Herb Alpert and Jerry Moss acquired the lot, transforming it into the headquarters for A&M Records. During A&M's tenure, the newly established recording studios, which thoughtfully preserved one Chaplin-era soundstage, became the birthplace of countless classic productions, including Joni Mitchell's *Blue*, Carole King's *Tapestry*, and the star-studded 1985 charity single, “We Are the World.” In 2000, Jim Henson’s children purchased the lot, making it the new home for The Jim Henson Company and continuing its legacy in TV, film, and music production.

Mayer's personal connection to the studio predates his ownership. He first visited Henson Studios in 2005 to record a cover of “Route 66” for Disney’s *Cars* soundtrack, immediately recognizing its prestige. His affinity for the location grew, leading him to secure a lockout of Studio C in 2018 after songwriter/producer/guitarist John Shanks vacated it. This long-term engagement allowed Mayer to acclimate to and deeply understand the unique vibe and atmosphere of the space.

The partnership between Mayer and McG came about through a shared desire to protect the studio. When the lot faced potential acquisition by a family linked to the Church of Scientology, McG, known for directing *Charlie’s Angels* and producing *The O.C.*, and who started his career producing music videos often at A&M/Henson, attempted his own bid. Studio president Faryal Ganjehei, who began with Henson in 2000 and will continue in her role at Chaplin, connected McG with Mayer, who was equally keen on preserving his artistic home. Despite their limited prior acquaintance, they quickly realized their complementary strengths: McG was equipped to manage the operational complexities of a studio lot, while Mayer sought a dedicated space for artistic creation. Irving Azoff, McG's first record deal giver and Mayer's long-time manager, endorsed the collaboration, culminating in the $60 million deal finalized in November 2024.

For Mayer, the purchase extended beyond financial considerations; he views the lot as an “emotional asset.” His motivation was deeply personal, aiming to maintain the artistic community and routine he had cultivated at Henson. He emphasized the importance of preserving a workplace where artists, often lacking routine, could find stability and inspiration. This commitment underscores a responsibility not just for their own investment, but for the creative well-being of all who work there.

The new owners are committed to preserving the studio's intrinsic character. Mayer highlighted plans to restore the original rug pattern in Studio A and expressed a firm desire to maintain the studio's distinctive scent, which he believes is integral to an old California studio's atmosphere. He is also staunchly against modern lighting updates, such as LED backlighting, preferring to keep the existing ambiance with elements like tapestries and string lights, which he believes foster creativity. The philosophy is to allow artists to relate to the studio's timeless nomenclature without excessive modernization.

The studio's dedication to supporting artists is exemplified by anecdotes such as Justin Bieber's request for a basketball court during a recording session for his album *Swag*. Ganjehei, with the help of the industrious studio runners, swiftly transformed a soundstage into a perfectly taped basketball court within hours. Mayer noted that if such accommodations enable an artist like Bieber to create Grammy-nominated work, then the studio has fulfilled its purpose.

Looking ahead, Mayer plans to re-engage with his own artistry, dedicating significant time in 2026 to creating his ninth studio album. He acknowledged the challenge of allocating sufficient time for record-making amidst other commitments, like getting the studio operational and developing a Sphere show. He intends to streamline his schedule, focusing on the album's quality rather than rushing the process, though he will continue his SiriusXM channel, *Life With John Mayer*. This renewed focus on his music reinforces the purpose of acquiring such a dedicated creative space.

A significant advantage of the studio is its unparalleled location. Mayer describes it as the only place of its kind in Hollywood, offering a centralized yet secluded environment. Unlike studios in Burbank that require lengthy commutes, this location allows artists to avoid being