Wednesday, January 29, 2025

Advertising and Industrial Design: Forksticks, Spoonsticks, Knifesticks and the Chork

1967 advertisement for Chun King products introduced Forksticks

































1968 advertisement for Chun King products and its Dragon brand


































Volume 29, 1967
page 108
Chun King Corp. Offering Consumer Forksticks Premium
The Chun King Corp., Duluth, Minn., is offering as a consumer premium a set of four beautifully balanced forksticks with ivory-like handles for $1, plus a label from any-canned or frozen Chun King product.

Effective Jan. 1, the premium offer ties in with the kickoff of a vigorous campaign by Chun King to promote its annual Chinese New Year’s Festivities.

TV spot advertisements on the Today Show and the Tonight Show, as well as four-color ads will back up the premium offer, as part of the Chinese New Year’s promotion. Colorful point-of-purchase coupon tear-off pads will also be available.

The premium offer will run until Dec. 31, 1967.
L. Edmond Leipold
T. S. Denison & Company, 1968
page 157
… The 1967 premium was selected after careful consideration and it proved to be a popular choice. A tableware item called forksticks was offered as a premium, resembling chopsticks in appearance. It caught the eye of the buying public, adding a bizarre Oriental touch to a home-served meal of Chun King chow mein or chop suey. So successful was this promotion feature that it was decided to add two more items, spoonsticks and knifesticks, to the premium list on future occasions.
Jeno F. Palace
Grosset & Dunlap, 1969
page 104
... The 1967 premium was one we were particularly fond of. Our ad agency, J. Walter Thompson, came up with the idea: “forksticks,” or flatware made with wooden handles so that they had a family resemblance to chopsticks. Just the thing to add the final festive note to a banquet-at-home built around Chun King foods. Subsequently, we decided, we’d offer spoonsticks and knifesticks so the housewives could build up complete sets. ...
Joel Denker
University of Nebraska Press, 2007
page 104
... The promoter assiduously plotted in-store displays to boost sales. Supermarkets were lavishly decorated for three festivals, summer Luau, the Fall Moon festival, and Chinese New Year, which together contributed a third of the company’s yearly volume. Shops were decked out with lanterns and banners, pagodas, and rickshaws. Employees wearing conical-shaped “coolie” hats greeted shoppers. “Fork sticks” and “knife sticks” were given out as half-price premiums. ...




























 
 
 
 
 
Forksticks measurements: .75 x 8.25 in / 1.9 x 21 cm, made in Japan

A translation of the characters on the handle: Live long and prosper. (First spoken on Star Trek, “Amok Time”, September 15, 1967.)


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Knife measurements .75 x 9.0625 in / 1.9 x 23 cm, made in Japan
Large Spoon measurements 1.5 x 8.25 inches / 3.8 x 21 cm, made in Japan
Small Spoon measurements 1.25 x 6.75 in / 3.175 x 17 cm, made in Japan

At the time Forksticks was not trademarked; fast forward to the Forkstick in 2006

A different forksticks design was described in the 1996 novel, Virtual Zen, by Ray Nelson. 
... First, they are plastic, that is, phony. Second, they are like chopsticks on one end, with the addition of grooves like those in the jaws of a pair of pliers. Third, they are like a knife and fork on the other end, with a spoon built into the prongs of the fork. ...

* * * * *



 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Chork measurements: 1 x 8.625 in / 2.54 x 21.9 cm, made in China

The Chork is a product of the Brown Innovation Group, Inc. in Princeton, Kentucky. In 2010 the company obtained a trademark. The Chork can be purchased at the company’s website and other online sellers such as Amazon and eBay.

A video demonstrating the Chork was posted in 2011. On May 15, 2012, Gigazine featured the Chork in Japanese and English.

In 2016, Panda Express provided the Chork to its customers; see articles at the Los Angeles Times, August 18, 2016; Hypebeast, August 15, 2016; and Mashable, August 15, 2016.


(Next post on Wednesday: “The Good Earth” in the Chinese Digest)

Wednesday, January 22, 2025

Comics: The Rag Tags and Bob Tail

The New York Herald comic strip was created, in 1911, by Arthur Munroe Lewis not Arthur Allen Lewis. The series ran from March 12 to July 16, 1911.
 
March 1911
 
March 1911
 
April 2, 1911
 
April 9, 1911
 
April 16, 1911

April 23, 1911

April 30, 1911
 
June 25, 1911
 
July 2, 1911
 
 
July 9, 1911
 
 

Wednesday, January 15, 2025

Postcard Graphics: Greetings from Chicago Chinatown

Jay W. Rapp & Co., 1930

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Chee Wo Tong Co., The Chinese Emporium, 1939

 
 
 
 
 
 
 
 
 
 
 
 
 
 Chee Wo Tong Co., The Chinese Emporium, 1950












 
 
These postcards are in Thandi Cai’s exhibit “Portals of Kinship: 
Threads of Commerce” at the Chinese American Museum 
of Chicago from November 9, 2024 to March 31, 2025.
 
 
(Next post on Wednesday: The Rag Tags and Bob Tail)

Wednesday, January 8, 2025

Wednesday, January 1, 2025

Sam Wu, Photographer

Samuel “Sam” Wu was born on February 19, 1919 at Boston, Massachusetts according to his birth certificate and World War II draft card. His Chinese name was “Wu (Ng) Shue Wah”.

The 1920 United States Census, enumerated in January, counted Wu, his father, “Shee Yin Wu” and mother, “Shee Yong Wu”, at 10 Oxford Street in Boston. Both parents were born in China and immigrated in 1900. Wu’s father was an import merchant.

 
In the summer of 1921 Wu and his parents made preparations to travel to China. Wu’s Form 430 application was dated July 21, 1921. At the bottom of the form was his Boston Chinese Exclusion Act case file number 2500/4100.


On August 11, 1921 the family boarded the Boston & Maine Railway and traveled through Canada to Vancouver where they boarded a steam ship to Hong Kong.

Twenty-years later Wu returned to the United States. Wu was aboard the steam ship President Coolidge when it departed Hong Kong on August 10, 1941. The passenger list said he lived with his mother, “Young Shee”, at 25 Fook Lo Village Road in Kowloon, Hong Kong. Wu arrived at San Francisco, California on August 28. After a short interview he was admitted that day. His Chinese Exclusion Act case file number was 41235/12-21. Wu’s final destination was to a friend, B.S. Fong at Ye On & Company at 749 Clay Street in San Francisco. His testimony revealed his education and employment.
Q What are all your names?
A Wu, Samuel or Wu (Ng) Shue Wah.

Q What is your age and birthplace?
A 22, born at Boston, Massachusetts

Q Is either parent a national of China?
A Both parents are nationals of China.

Q Of what country are you a citizen?
A I am an American citizen.

Q Did you last depart from the United States August 11, 1921?
A Yes, at the port of Boston.

Q Where have you lived since going to China in 1921?
A I resided in Canton City up to 1938. Since then I have been living in Hong Kong?

Q What occupation have you followed since January 1, 1941?
A I have been working in the Hong Kong Nail factory one year after my graduation from Lingnan University Middle School in 1938.

Q Have you ever joined or served in the armed forces of any country?
A No.

Q Have you ever had any military service in any country?
A No.

Q Did you ever accept or perform the duties of any office, post, or employment of a governmental nature?
A No.

Q Did you ever take part in any political activities in China?
A No.

Q Have you ever done anything to expatriate yourself?
A No.

Q Have you anything further to state?
A No.
Wu’s Certificate of Identity, number 85668, was issued on September 12, 1941 and mailed in care of Mrs. Choy at 1124 Clay Street in San Francisco.


On September 27, 1941 Wu signed his draft card. His San Francisco address was 1124 Clay Street. Wu’s description was five feet six inches, 106 pounds, with brown eyes and black hair. He worked at the Wing On Company.


On December 7, 1941 Japan attacked Pearl Harbor. The next day Japanese forces began its invasion of Hong Kong.

It’s not known if Wu served during World War II.

Wu’s photography career started in China. The 1960 publication, Photo Study Techniques by Sam Wu, said
Sam Wu was born in Boston, Massachusetts and raised in Canton, China. Art was his favorite school subject and his interest in photography grew out of his passion for painting. ...
Sam Wu’s Hollywood Figure Studies, published in 1967, said
... Sam Wu was born in Boston, but spent his youth in China, returning to this country just before Pearl Harbor. In Canton, he developed his natural Oriental penchant for art and began to paint in water colors. He thought seriously of a career as an artist and, when he returned to the United States to live, he settled in Los Angeles and attended the Art Center School. Here, as an adjunct to his art, he began to train himself to use a camera. It was love at first sight, however, and he soon abandoned the brush for the camera. So quickly did he develop his photographic skill that when America became involved in World War II just three months after he arrived in Los Angeles [sic], he was hired by Lockheed Aircraft as an industrial photographer. ...
Wu’s photographic talent was recognized in Hong Kong. The Hongkong Telegraph, October 9, 1939, said he received a commendation in the newspaper’s competition. The Hongkong Daily Press, June 8, 1940, said Wu was awarded a Certificate of Merit at the Annual Overseas Competition of 1939–40. The Hongkong Telegraph, October 12, 1940, said Wu was the second prize in winner in the section for Still Life and Table Top Studies.

One of Wu’s photographs, “Uncle”, was published in the Detroit News Pictorial, June 7, 1942.


Wu submitted the same photograph to Popular Photography’s picture contest. The December 1942 issue said Wu was awarded a U.S. War Savings Stamp.

Wu’s San Francisco address, 1124 Clay Street, was listed in The American Annual of Photography 1943, Volume 57 (1942). The same address was in the 1943 San Francisco city directory which said his employer was the U.S. Forest Service. Later in 1943 Wu moved to Los Angeles.

Wu’s “Flowers” was published in The Camera, September 1943. He was awarded a cash prize in the magazine’s September War Bond Contest.

 
The Dallas Morning News, January 9, 1944, reported Camera Magazine’s exhibition which included Wu’s “Son of China”. The reviewer praised Wu’s photograph for “superior photographic portraiture”.

Minicam Photography, March 1945, published Wu’s photograph which was composed of seven exposures. This image was also published in László Moholy-Nagy’s 1945 book, Vision in Motion

Minicam Photography

Vision in Motion
 
Wu received an honorable mention in the cover contest hosted by Minicam Photography as noted in the December 1945 issue. He did it again one year later and his photograph was published. A photograph of the California cover contest winners, including Wu, appeared in Minicam Photography, January 1947.

Minicam Photography, February 1947, published Wu’s photograph on the contents page.

I believe Wu also did some cartoons for Popular Photography, March 1947 and December 1947.

The Hollywood Citizen-News, March 15, 1947, featured four photographs by Wu on its women’s page.

Wu shot the cover of Minicam Photography, May 1947. The following month Popular Photography printed his merry-go-round picture.
 
 
In 1949 Wu was a winner in the Minicam Photography cover contest and Popular Photography’s picture contest. His winning continued in Popular Photography for 1951 and 1953. Wu had a photograph in Popular Photography for May 1950 and September 1950.

The 1950 census counted Wu (line 27) at 628 South Ardmore in Los Angeles. He was a commercial photographer.


The newspaper magazine supplement Parade used Wu on three assignments for hospitals (January 14, 1951), medicine (May 26, 1951) and four actresses (July 18, 1954) here and here.

Mesa of Lost Women was a low-budget, black-and-white horror film released in 1953. (Descriptions are at The Exhibitor (June 17, 1953), Scifist, Psychotronic Video #30, page 13, and Son of Golden Turkey Awards, page 156.) The National Legion of Decency reviewed the film and rated it Class B because of “suggestive sequence and situations.” I believe Wu was the servant in the film. Compare his 1941 photograph to the film close-up.


Who cast Wu is not known. The movie is at the Internet Archive. Wu made his first appearance at the 23:26 mark. His screen credit appeared not at the opening but at the end of the film. Wu was credited on the poster


In the early 1960s Wu was the photo editor on Black Belt magazine.

According to the World Book Year Book 1962, Wu took first prize for color in the 1961 U.S. Camera Photography Contest.

Wu was a noted glamour photographer. His assignments for Playboy included April 1956, October 1958, July 1959, and September 1961. Other publications included Escapade, Male, Caper, Stag, Bachelor’s Pin-ups #1 and Photography for Men #1.


In Popular Photography, May 1957, Wu (above) described how he used a 35mm camera for glamour photography. Wu was included in the 1959 publication, 10 Top Glamour Photographers. Wu photographed Nobu McCarthy, Greta Chi and other women for Photo Study Techniques by Sam Wu (1960).


Wu pictures were featured in Figure Annual, Summer 1964, and Figure Photo Ideas by Noted Camera Artists. Two more publications focused on Wu’s women: Sam Wu’s Hollywood Figure Studies (1967) and Glamor Photography #5 (1968).


Wu passed away on August 19, 2005 in Los Angeles. He was laid to rest at Rose Hills Memorial Park.

Find a Grave said Wu was married to Grace Chunfan Wu (December 25, 1925–February 19, 2008).  A record of their marriage has not been found. At Ancestry.com Grace and Chingtung Wu (February 13, 1919–October 12, 1998) filed naturalization petitions at the same time in 1984: her petition number was 38242 and his 38243. They had the same address, 1909 Rockbridge Road, Sacramento, California. It’s not clear if they were married or siblings.