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Coon Chicken Inn
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Coon Chicken Inn was an American chain of three restaurants that was founded by Maxon Lester Graham and Adelaide Burt in 1925,[1] which prospered until the late 1950s. The restaurant's name contained the word Coon, considered a racial slur, and the trademarks and entrances of the restaurants were designed to look like a smiling caricature of an African American porter. The smiling capped porter head also appeared on menus, dishes, and promotional items. Due to changes in popular culture and the general consideration of being culturally and racially offensive, the chain was closed by 1957.[2]

Key Information

The first Coon Chicken Inn was opened in suburban Salt Lake City, Utah, in 1925. In 1929, another restaurant was opened in then-suburban Lake City, Seattle,[3] and a third was opened in the Hollywood District of Portland, Oregon, in 1931. A fourth location was advertised but never opened in Spokane, Washington. Later, a cabaret, orchestra, and catering were added to the Seattle and Salt Lake restaurants.[4] The Portland location at 5474 NE Sandy Blvd. closed in 1949 and was converted into another restaurant, and is currently the location of Clyde's Prime Rib.[5] The Seattle location also closed in 1949 and is no longer standing.[6] That address at 8500 Lake City Way is now occupied by The Growler Guys restaurant.[6] The Salt Lake City location at 2960 S. (sometimes listed as 2950 S.) Highland Drive closed in 1957 and is now the site of a furniture store.[7]

[edit]

An antique promotional poster for Coon Chicken Inn featured as a plot device in the 2001 black comedy film Ghost World.[8]

The company plays a role in the alternate history mockumentary C.S.A.: The Confederate States of America from 2004.[9] It is featured in a number of advertisements, and is believed to have heavily outperformed its real life counterpart. It is implied to have replaced McDonald's and KFC as North America's most known fast food establishment.

See also

[edit]

References

[edit]
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Coon Chicken Inn

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from Grokipedia

Coon Chicken Inn was a chain of restaurants founded in 1925 by Maxon Lester Graham and his wife Adelaide Burt Graham in Sugar House, a of , . The business began with a small roadside stand purchased for $50 and quickly gained popularity for its southern-style prepared using a unique method. It expanded to additional locations in , Washington, in 1929 and , in 1930, with possible outlets in Spokane and other cities. The chain's branding prominently featured a grotesque caricature of a bald Black man's grinning face with a porter's cap and winking eye, serving as the restaurant entrance door and appearing on menus, dishes, and advertising. This imagery, reflective of Jim Crow-era racial stereotypes, drew protests from the in in 1930, prompting temporary alterations like repainting the faces blue to evade prosecution, though the core design persisted. Despite such opposition, the restaurants thrived with amenities like cabarets, orchestras, ample parking, and , operating successfully into the late and early before closing amid shifting social attitudes and competition. The Portland and sites shuttered in 1949, while the original location continued until 1957.

History

Founding in Salt Lake City

The Coon Chicken Inn was founded in 1925 in the Sugar House suburb of , , by Maxon Lester Graham and his wife, Adelaide Burt Graham. The initial location stood on Highland Drive near West Side High School, operating as a simple in a small building purchased for $50 and equipped with three stools, an ice box, and a basic counter. Maxon Graham, born June 17, 1897, brought prior business experience to the venture, having established the M.L. Graham Company as a automobile dealership in at age 16—the youngest such owner in the United States at the time. He had earlier pursued informal enterprises in the area, including selling lemonade and popcorn while picking strawberries to support his family. Following a profitable 1924 with the dealership and after marrying Adelaide Burt, the couple sought expansion into food service, capitalizing on the growing demand for affordable chicken meals amid Utah's post-World War I economic recovery. The establishment quickly expanded due to strong local patronage, adding tables and booths to accommodate increased traffic. A fire in July 1927 destroyed much of the original structure, but reconstruction proceeded swiftly, allowing reopening within 10 days and incorporating features like a cabaret stage, dance floor, and live orchestra to enhance its appeal as a community dining and entertainment spot. This resilience underscored the restaurant's early viability in Salt Lake City's competitive eatery landscape.

Expansion to the Pacific Northwest

In 1929, after rebuilding the original restaurant on a larger scale following a 1927 fire, S. Forest Graham and his wife Addie opened a second Coon Chicken Inn in , Washington, located on Lake City Way Northeast in the then-suburban Lake City area. The Grahams relocated to to oversee operations, while maintaining the site under separate management. The new venue replicated the roadside architecture and signature entrance of the flagship, drawing crowds with its menu and entertainment, and achieved immediate commercial success amid the local economic conditions preceding the . The chain continued its regional growth in 1930 with a third location on Sandy Boulevard in , which similarly emphasized drive-in accessibility and themed decor to attract motorists and families. This expansion capitalized on the Grahams' proven model of affordable Southern-style served in a novelty setting, with all three outlets reporting strong patronage through the early despite broader economic challenges. A fourth branch eventually opened in Spokane, Washington, further extending the brand's footprint in the region.

Daily Operations and Business Model

The Coon Chicken Inn functioned as a chain of roadside restaurants emphasizing dine-in service for Southern-style prepared in an "old-fashioned" method described as crisp and grease-free. Daily operations involved high-volume kitchen preparation, with the location processing between 0.5 and 2 tons of per day to meet demand. Customers accessed the dining areas via a oversized head entrance, where the mouth formed the door, often knocked upon for entry, enhancing the themed experience. Waitstaff provided table service in a cheerful atmosphere suited for family meals, parties, after-theater gatherings, or club events, with some locations incorporating entertainment and live orchestras. Additional conveniences included extensive for up to 500 vehicles and by or for . The menu focused on chicken-centric dishes alongside complementary items, reflecting a modest scope akin to contemporary drive-ins but with roadhouse ambitions. Offerings included the Coon Chicken Special for $1.50—featuring half a chicken, , , hot buttered Parkerhouse rolls, and preserves—and the full Coon Chicken Dinner for $2.00 with or chef's . Other selections encompassed chicken pie, Southern fried Coon Chicken sandwiches, hamburgers, , chili, oysters, , and desserts like and cakes, with luncheon specials priced as low as 40 cents. Branding extended to menu designs shaped like faces and items named such as the Baby Coon Special (half chicken). The business model relied on family ownership under Maxon Lester Graham, beginning with a $50 in a small Salt Lake City building in 1925 and expanding to in 1930 and Portland in 1933 through reinvested profits and swift post-disaster recovery, such as rebuilding after a July 1927 fire within 10 days using over 250 carpenters. streams derived from high customer throughput at log-cabin-style venues, yielding approximately $500,000 annually in the operation before 1933, supported by themed architecture, branded merchandise, and advertising touting "nationally famous" cookery. Operations prioritized white family and group patronage via nostalgic Southern motifs and event hosting, sustaining viability until competitive pressures and external challenges prompted closures starting in 1949 for the sites.

Branding and Iconography

The Signature Logo and Entrance Design

The signature logo of the Coon Chicken Inn consisted of a caricatured image of a man's head, depicted with exaggerated racial including a bald pate, wide-open mouth with oversized white lips forming a grin, bulging eyes, and a porter's uniform. This design drew from 19th-century iconography, where such figures symbolized subservient Black characters in entertainment. The logo appeared on signage, menus, and promotional materials across the chain's locations in , , and Portland from the restaurant's founding in 1925. The entrance design featured a monumental-scale rendition of this head, measuring approximately 12 feet in height, mounted at the facade of each restaurant building. Patrons accessed the interior by passing through the open mouth of the caricature, which functioned as the doorway, with the lips framing the entryway. This architectural element, often illuminated for visibility, served as a distinctive landmark that reinforced the brand's visual identity and drew attention along highways like the Old Bothell Highway in . The head's design emphasized grotesquerie, with elements like crossed eyes and a winking expression in some variants, aligning with the era's commercial use of racial imagery to evoke familiarity and humor among white patrons. Archival materials from the chain's operations, including postcards and advertising , consistently showcased this motif as the core of the inn's .

Marketing Materials and Merchandise

The Coon Chicken Inn extensively incorporated its signature logo—a stylized image of a man's head with exaggerated features, red lips, and the restaurant's name inscribed on the teeth—into various and promotional materials to reinforce brand recognition. Newspaper advertisements were a key component, including a full-page promotion in on August 31, 1930, formatted as a faux news story to announce the Seattle location's opening and highlight menu offerings like and waffles. Additional print ads featured collaborations with entertainers, such as a 1934 promotion tying the restaurant to John Maxson and his Club Cotton Merry-Makers for themed events. Promotional postcards distributed to customers depicted multiple restaurant locations in Salt Lake City, , and Portland, often showcasing the architectural entrance designed as the logo's open mouth. Within the restaurants, the logo permeated dining-related items to immerse patrons in the branding, appearing on every dish, piece of silverware, , napkin, and other paper products such as placemats and envelopes. These and items served dual purposes as functional tools and potential takeaways, with original menus and placemats measuring up to 15.5 by 10.5 inches and featuring the caricature alongside pricing for items like dinners at 50 cents. Exterior and vehicular promotions extended the visibility, with the logo emblazoned on delivery trucks and customer-provided spare tire covers designed to advertise the chain while traveling. ashtrays stamped with "USA" and bearing the logo were also produced as in-restaurant giveaways or sales items, typically 4 inches in diameter. Merchandise distribution emphasized portability and novelty, aligning with the era's roadside dining culture to build customer loyalty and word-of-mouth promotion. While authentic items from the chain's operational years (–1950s) remain sought after, contemporary reproductions of ceramics and other goods have proliferated, often lacking original markings and complicating identification. The overall strategy leveraged the provocative imagery for memorability, contributing to the chain's regional popularity despite later reevaluations of its racial undertones.

Controversies and Criticisms

Racial Caricature and Stereotypes

The Coon Chicken Inn's branding centered on a racial known as the "coon," featuring a , grinning head of a bald man adorned with a porter's cap and a winking eye. This image, approximately 12 feet tall at restaurant entrances, incorporated functional doors set within the caricature's exaggeratedly wide, open mouth, requiring patrons to pass through it to enter. The design extended to interior items like menus, plates, and silverware, as well as promotional materials such as postcards and matchbooks, embedding the imagery throughout the . This caricature drew directly from the "coon" stereotype popularized in 19th-century minstrel shows, which depicted Black males as buffoonish, lazy, and comically foolish figures unfit for serious roles in society. The term "coon," derived as a for , served to dehumanize Black individuals by likening them to animals, emphasizing traits like shiftlessness and intellectual inferiority through exaggerated facial features such as oversized lips and perpetual grins. In the Coon Chicken Inn's context, the figure's association with serving reinforced subservient stereotypes, portraying in domestic, culinary roles tied to Southern imagery. The restaurant's menu items, including "Coon Chicken" sandwiches and "Baby Coon Special," explicitly linked the caricature to , amplifying a longstanding that attributed an innate, simplistic affinity for the dish to Black Americans—a trope originating in post-Civil War media and advertising that mocked Black poverty and culinary traditions. Such representations, prevalent during the chain's operation from the late 1920s to the 1950s amid Jim Crow segregation, normalized derogatory portrayals by framing them as humorous or nostalgic evocations of racial hierarchies rather than overt malice. In 1930, following the opening of the Seattle branch, the local chapter of the and the African American newspaper The Northwest Enterprise raised objections to the restaurant's name and logo, viewing them as libelous and defamatory to the Black race. The groups threatened to file a lawsuit against owner Maxon Lester Graham unless changes were made to mitigate the offensive imagery. Graham responded by agreeing to several concessions, including removing the word "Coon" from delivery vehicles, repainting the signature entrance head, and canceling an order for 1,000 spare tire covers emblazoned with the logo. These modifications were intended to address the complaints without altering the core branding. However, Graham subsequently altered the logo's color from black to blue on some items, an apparent attempt to technically circumvent the agreement and avoid litigation. No lawsuit was ultimately pursued, and the threatened action did not escalate to formal court proceedings. Beyond this incident, no additional organized protests or legal challenges specifically targeting the racial caricature are recorded during the chain's operation from the through the . Labor unions did picket the location in 1937 and 1939 over employment practices, displaying signs reading "Unfair" for approximately one week each time, but these actions focused on rather than racial imagery. The limited documented opposition reflects the era's constrained civil rights activism in the , where Black populations were small and institutional racism pervasive. The restaurants closed gradually— and Portland in 1949, in 1957—due to owners' decisions to lease properties, not direct fallout from controversies.

Responses and Adaptations

Owner Actions and Modifications

In 1930, shortly after opening the Seattle location, owners Maxon Lester Graham and Adelaide Burt faced protests from the Seattle chapter of the National Association for the Advancement of Colored People (NAACP), which threatened and pursued legal action alleging libel and defamation of race due to the restaurant's prominent use of a racial caricature in its branding. In response, the owners entered a consent agreement that included removing the word "Coon" from delivery vehicles, repainting the black caricature head on the entrance doorway blue to alter its racial connotation, and canceling an order for 1,000 spare tire covers featuring the logo. These modifications proved superficial and short-lived, as Graham reportedly violated the agreement by reverting elements of the imagery, including changing the figure's skin back toward its original depiction while claiming the blue version evaded the racial intent. The temporarily removed the head from public view and paused operations briefly, but the core branding persisted in adapted forms, with the altered entrance figure retained without the words "Coon Chicken Inn" inscribed in its mouth. No further substantive changes to the name, logo, or operational practices were implemented across the chain in response to ongoing criticisms, allowing the establishments to continue serving predominantly white clientele until their respective closures in the late 1940s and 1950s.

Employment Practices and Internal Dynamics

The Coon Chicken Inn employed a predominantly white workforce across its locations in , , and Portland, reflecting the racial demographics of its customer base during the through . African American workers were occasionally hired, primarily in kitchen roles at the outlet and as wait staff in , where they served under the restaurant's overtly racist that caricatured men as servile figures. Black waiters at the Seattle branch, such as lead waiter Roy Hawkins during World War II, endured a hostile internal environment where the restaurant's branding blurred into daily interactions, with white diners directing racial epithets like "real live coons" at staff and demanding performances such as singing or dancing to align with the coon stereotype depicted on menus and dishware. This dynamic contributed to high employee turnover among Black workers, who often quit due to the dehumanizing conditions, despite some earning substantial tips—Hawkins reportedly made $100 to $200 nightly, exceeding typical wages for white laborers like bricklayers at $5 per day. Labor relations involved tensions with organized unions, as evidenced by a joint protest in March 1937 at the location by the Bartenders, Cooks, Waiters, and Waitresses Union (BCWW) and the Musicians Union, who picketed for one week with signs reading "Unfair" to demand full unionization and protest unfair labor practices. The action focused on the restaurant's resistance to organized labor rather than its racial imagery, culminating in a signed agreement on March 18, 1937, between union representatives, Chamber of Commerce mediator E. B. Fish, and owner Lester Graham. Such disputes highlight operational frictions in staffing and management, though specific details on broader internal hierarchies or structures remain limited in historical records.

Closure and Legacy

Decline and Shutdown

The Coon Chicken Inn chain faced mounting criticism for its racial caricature branding amid evolving social attitudes toward racial depictions in the mid-20th century. In , the National Association for the Advancement of Colored People (NAACP) protested the restaurant's imagery in 1930, prompting owners Maxon and Adelaide Graham to temporarily modify elements such as repainting black faces blue and removing the "Coon Chicken Inn" inscription from the logo's teeth to avert legal action for libel and defamation. Despite these concessions, operations continued without fundamental changes to the core , and the chain expanded briefly before protests and labor disputes, including a 1937 challenge from organized workers over unfair practices, signaled broader resistance. By the late , the cultural viability of the branding eroded as civil rights awareness grew, leading to the closure of the and Portland locations in 1949. Owner Lester Graham removed the prominent "coon head" entrance feature from public view prior to shuttering the outlet, reflecting an acknowledgment of the imagery's diminishing acceptability. The branch persisted as the final holdout, operating until its closure in 1957, after which the Grahams shifted to leasing the properties to other restaurateurs rather than maintaining the Coon Chicken Inn name and theme. The shutdowns aligned with post-World War II shifts in American public sensibilities, where overt racial stereotypes in commercial enterprises became increasingly untenable amid rising demands for racial equity, though no single economic or legal trigger is documented as decisive. The chain's end marked the obsolescence of Jim Crow-era marketing tactics that had once drawn crowds but ultimately alienated segments of the populace as societal norms rejected such caricatures.

Collectibles and Historical Artifacts

Collectibles associated with the Coon Chicken Inn encompass a range of ware and promotional items bearing the chain's signature of a grinning bellboy, including plates, bowls, cups, menus, matchbooks, toothpick holders, and ware such as ashtrays and creamers. These artifacts, produced primarily between 1925 and the chain's closure in the 1950s, feature the integrated into designs like borders on plates or stamped on bases marked "USA." Original pieces, such as a 1940s Libbey juice or printed menus listing dinners, appear at auctions and are valued in the Black Americana market for their historical specificity. Historical artifacts extend to preserved operational records and promotional materials, with the Smithsonian Institution's holding the Coon Chicken Inn Records and Graham Family Papers, including folders detailing the chain's founding in in 1925 and expansion to in 1929. Museums like the Jim Crow Museum of Racist Memorabilia at collect and exhibit items such as Coon Chicken Inn glasses and ashtrays alongside segregation signs to document anti-Black imagery and stereotypes from the Jim Crow era. The Shoreline Historical Museum maintains a collection of photographs depicting the Seattle location's entrance and interior, preserving visual evidence of the restaurant's and branding. Reproductions pose significant challenges to collectors, with modern glass salt and pepper shakers, creamers, and advertising hand fans mimicking originals but often identifiable by differences in material quality, such as overly smooth molds or incorrect markings; authentic items from the operating period command higher value, as seen in auction sales of toothpick holders and menus fetching $200 or more for verified pieces. Despite their collectibility, these objects are primarily valued for illustrating mid-20th-century racial attitudes rather than aesthetic merit, with institutions emphasizing educational use over glorification.

Contemporary Assessments

In contemporary , the Coon Chicken Inn's branding is analyzed as a prime exemplar of early 20th-century commercial exploitation of anti- stereotypes, particularly the "" figure—a grinning, exaggerated evoking minstrelsy and associating with consumption. This imagery, featuring a bald Black male head with oversized lips forming the restaurant's name, is critiqued for normalizing dehumanizing tropes that linked Black identity to servitude and simplicity, influencing perceptions of racial hierarchies in consumer culture. Historians such as Psyche Williams-Forson extend this assessment to broader patterns in food branding, arguing that such depictions contributed to enduring stereotypes, though some note the chain's era reflected widespread societal acceptance rather than isolated malice. Public reactions to surviving memorabilia underscore persistent divisions over historical artifacts. In February 2021, an antique mall in , displayed Coon Chicken Inn posters and dishes, prompting accusations of endorsing white supremacist symbols and leading to their removal amid customer complaints. A similar controversy arose in December 2017 when a , restaurant showcased the chain's neon caricature sign, drawing widespread condemnation on for evoking racist and resulting in defensive responses from the owners who claimed it as harmless decor. These incidents highlight tensions between collectors valuing rarity— with items fetching prices up to several hundred dollars at auctions—and critics viewing them as perpetuators of trauma, often citing the caricature's role in reinforcing Jim Crow-era . Educational uses frame the Coon Chicken Inn as a teaching tool for confronting racial history. The Jim Crow Museum of Racist Memorabilia at houses examples like glassware and ashtrays bearing the logo, employing them to demonstrate how everyday commerce disseminated stereotypes from the 1920s through the 1950s. Curator David Pilgrim contends that such collections foster awareness by preserving evidence of , countering denialism without endorsing the artifacts' original intent. Academic works, including analyses tying the chain to broader anti-Black restaurant motifs, urge contextualization over erasure to understand causal links between past marketing and modern racial dynamics in the . Despite occasional nostalgic recollections from former employees or locals, dominant assessments reject rehabilitation of the brand, emphasizing its incompatibility with post-civil rights norms.

Cultural Impact

In the 2001 film Ghost World, directed by and adapted from ' graphic novel of the same name, an antique Coon Chicken Inn promotional poster functions as a central , where protagonist uses it to expose the hypocrisy of an at a showing, underscoring the poster's value as racist memorabilia amid shifting cultural attitudes. The poster's appearance draws from authentic historical artifacts, with dialogue referencing the chain's origins and its logo to critique commodification of bigotry. Rusty Cundieff incorporated visual references to the Coon Chicken Inn in his satirical works critiquing racial stereotypes. In the 1993 mockumentary , the entrance to the fictional Museum of Negrosity—a repository of anti- tropes—mirrors the restaurant's gaping-mouth doorway , symbolizing consumption of Black imagery in , as confirmed by the director. Cundieff echoed this motif in (2018), an anthology , where a demonic figure employs a Coon Chicken Inn-style entrance to devour a character, explicitly alluding to the chain's as a metaphor for devouring Black lives and . Some analysts have interpreted facial expressions in Childish Gambino's 2018 music video "This Is America"—particularly Donald Glover's winking grin amid chaotic violence—as evoking the Coon Chicken Inn's minstrel-derived logo, tying into the video's broader indictment of anti-Black exploitation in American entertainment and commerce. This reading aligns with the video's archival nods to Jim Crow-era iconography, though Glover has not directly confirmed the specific connection.

Broader Historical Context

The Coon Chicken Inn operated during the Jim Crow era, a period from the late 1870s to the mid-1960s when U.S. states and localities enforced racial segregation through laws requiring separate public facilities, schools, transportation, and accommodations for whites and African Americans, underpinned by the "" doctrine established by the in (1896). This legal framework institutionalized in the South and influenced social norms nationwide, including in the where the chain's restaurants were located, fostering an environment where overt racial caricatures were commonplace in public spaces and commerce without widespread backlash. The chain's grinning "coon" caricature—a minstrel-style depiction of an African American male with exaggerated features, often used as a entrance—reflected entrenched stereotypes portraying blacks as servile, buffoonish, or comically primitive, which were normalized in everyday branding. These images traced their origins to 19th-century shows, which emerged in the as whites in burnt-cork makeup performed demeaning skits and songs mocking enslaved and free , popularizing tropes of laziness, consumption, and affinity that persisted into 20th-century . By the 1920s–1950s, such caricatures permeated product marketing, particularly for food items, with examples including the "mammy" figure for pancake mixes and similar "coon" motifs associating with domestic or culinary subservience, reinforcing cultural narratives of racial inferiority amid post-World War I nativism and the Great Migration's urban tensions. This era's often exploited these stereotypes to appeal to white consumers' presumed familiarity and amusement, as evidenced by the prevalence of grotesque, dark-skinned figures in print ads and packaging until shifting post-World War II attitudes and early civil rights pressures rendered them increasingly untenable. The acceptance of such branding highlighted causal links between legal segregation, cultural entertainment legacies, and commercial exploitation, where economic incentives aligned with societal prejudices to perpetuate dehumanizing imagery without immediate regulatory or consumer repercussions, contrasting sharply with later repudiations amid desegregation efforts like the Civil Rights Act of 1964.

References

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