The list of Jews in public life whose names are not Jewish would be a long one. Louis Marshall, head of the American Jewish Committee, for example—what could his old family name have been before it was changed for the name of the Chief Justice of the Supreme Court of the United States? Mr. Selwyn’s name, now so widely known in motion pictures, was originally Schlesinger. Some of the Schlesingers become Sinclairs, but Selwyn made a really good choice for a man in the show business. A rabbi whose real name was Posnansky became Posner. The name Kalen is usually an abbreviation of Kalensky. A true story is told of an East Side tinsmith whose name was very decidedly foreign-Jewish. It is withheld here, because THE DEARBORN INDEPENDENT prefers in this connection to mention only the names of those who can take care of themselves. But the tinsmith moved to a non-Jewish section and opened a new shop under the name of Perkins, and his luck really did change! He is doing well and, being an industrious, honest workman, deserves his prosperity. Of course, there are lower uses of the name-changing practice, as every employer of labor knows. A man contracts a debt under one name, and to avoid a garnishee, quits his job, collects his pay, and in a day or two attempts to hire out under another name. This was once quite a successful trick, and is not wholly unknown now. There is also much complaint among the stricter observers of the Jewish ritual requirements that the word “Kosher” is greatly misused, that indeed it covers a multitude of sins. “Kosher” has come to signify, in some places, little more than a commercial advertisement designed to attract Jewish trade. For all it means of what it says, it might just as well be “The Best Place in Town to Eat”—which it isn’t, of course; and neither is it always “strictly” Kosher. It must be conceded, however, that the tendency to mislabel men and things is deep set in Jewish character. Jews are great coiners of catchwords that are not true, inventors of slogans that do not move. There is a considerable decrease in the power they wielded by such methods; their brilliancy in this respect is running to seed. This may be explained by the fact that there are so many song titles to write for the Jewish jazz factories, and so much “snappy” matter for screen descriptions. Their come-back is painfully thin and forced. Without peers in dealing with a superficial situation like a dispute over the beauty of two rival “stars,” or the amount and method of distributing confetti, they are the veriest dubs in dealing with a situation like that which has arisen in this country.