One of the stranger, distinctly midcentury Hollywood anecdotes attached to Jane Adams concerns a stage name that stuck — and then stuck around long enough to require a public vote to change it. Early in her career the model-and-actress was nicknamed 'Poni' at the Harry Conover Modeling Agency, a whimsical sobriquet she later admitted she didn't understand. She modeled for the National Tea Association and even served as a Dodge Girl for a year, and for a time was billed as Poni Adams. After an appeal orchestrated by her press agent asked the public (and, notably, servicemen abroad) to help choose a new name, newspapers ran a photograph captioned 'GI JANE — Jane Adams — formerly Poni Adams,' noting that her press agent claimed she had received 32,851 letters from GIs in response to the name contest. The episode captured the intersection of wartime morale, publicity machinery, and studio-era image-making: she officially returned to her real name, Betty Jane (as Jane Adams), in 1945. The oddball tally of letters and the GI-driven renaming are the kind of publicity stunt that sounds almost folkloric today, but contemporary press coverage and Adams's own recollections cemented the tale as part of her public identity rather than mere rumor. The resulting name change coincided with a career boost — an Esquire photo led producer Walter Wanger to order a screen test and a Universal contract that produced a small role in Salome, Where She Danced (1945) and parts in horror and serial fare — making the 'Poni' episode both a publicity oddity and a turning point in her studio-era trajectory.
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