kiro-tv

Known for decades as a cranky reactionary political commentator, you might find it hard to believe he’d started as a Seattle Times art and theater reviewer.

There, and later as managing editor at the P-I, he regularly advocated for the “fine arts” as a civilizing force, a means toward furthering the region’s progress from frontier outpost to respectable conservative community.

When the Seattle World’s Fair ended, Guzzo famously editorialized that the fair grounds (to become Seattle Center) should be devoted entirely toward arts/cultural pursuits. He specifically did not want any amusement-park rides there. He lived to see them finally removed.

One of Guzzo’s closest allies in this education-and-uplifting ideology was Dixy Lee Ray, who ran the Pacific Science Center. He later worked for Ray at the Atomic Energy Commission and during her one term as Washington Governor.

After Ray was primaried out of a re-election bid in 1980, Guzzo became a regular commentator on KIRO-TV. That’s where, in 1986, he delivered a blistering attack against greasy-haired, anti-social punk rockers. (The motivation was the infamous Teen Dance Ordinance, which Guzzo supported.)

In response, a local hardcore combo called the Dehumanizers released a blistering attack on him, in the form of a 45 entitled “Kill Lou Guzzo” (which began with a sample of Guzzo’s original commentary). Guzzo sued the band and its record-label owner David Portnow. Portnow responded by pressing more copies.

After retiring from KIRO at the end of the 1980s, Guzzo started a “voice of reason” website and self-published several books.

jordan stead, seattlepi.com

• The J.P. Patches memorial street sign is a thing. A wonderful thing.
• Was an area teen denied entrance to her high school prom because she had large breasts, or because her gown had revealed too much of them?
• The guy who took highly unauthorized pictures of himself atop the Space Needle (and not in an approved way) has been found out.
• The living members of Alice in Chains were in a web chat, where they offered the following (facetious) advice to young bands:  “Just quit now. Save yourself before it’s too late.”
• A local musician gave an informal poll of his colleagues to determine the best and worst places to play in Seattle.
• A moment of silence, if you will, for the career of disgraced now-ex Snohomish County executive Aaron Reardon.
• One of those regional speech variants surveys lists, among other differentiating words, the ways people in different parts of the country pronounce “crayon.” The article didn’t list the way everyone in my school said it: “color-cren.”
• Ex-Seattleite Lindy West, as some of you know, appeared on a cable talk show to debate the issue of whether rape “jokes” were, by their nature, unfunny. (She essentially said they were.) The usual way-stoopid web trolls showed up on comment boards, claiming that both (1) they’re not tools of “rape culture,” and (2) they wished someone would rape West. What?
• Big Pharma has been looking for years for a “Viagra for women.” Now a company supposedly has a “female libido booster.” And (male) scientific observers and pundits are expressing worry that it might work too well, unleashing that long-feared chaotic force that would enflame the planet in unabashed… (Better stop before I start talking like a semiotician.)
• Elsewhere, Swiffer thought it would be cool to depict the WWII icon “Rosie the Riveter” as a cleaning-obsessed housewife. Uh, nope.
• Michael Lind at Salon asks if Libertarianism is so great, how come no country on Earth has ever tried it? (Of course, the same thing could be said about “real” Socialism, etc.)
• CollegeHumor.com offers sample home pages answering what would happen “if all news sites worked like BuzzFeed.” (Or Huff Post, or any of a score of click-whoring aggregation sites.)

collegehumor.com

via geekwire

Amazon wants to build a triple-globe shaped, five story thing, variously called a “biodome” and a “greenhouse,” as part of its three-block skyscraper project. It would be on Lenora Street east of Sixth Avenue.

First comment:

Any architectural thang with three segments, in which the two smaller segments are spherical, is bound to lead to a lifetime of snickering jokes.

Arrangements of one or more spherical objects at the bottom of a 50-story tower will engender the same responses.

Amazon’s either being brave, or clueless, or devil-may-care bombastic, or some combo of the above.

Second, slightly more serious, comment:

As gargantuan New Seattle monuments to world-class-osity go (and I wish a couple of them would go), this one looks at least somewhat friendlier than the planned central waterfront makeover, kitschier (in a good way) than the Sculpture Park, and not nearly as brutalistic as Chihuly Garden & Glass.

Depending on how it works out, and how tolerant its staff is toward civilian activity within, it could be a welcome addition to the cityscape. Or at least a place in which to hide out from the rain for a bit.

neil hubbard via cousearem.wordpress.com

• It was 37 years ago this month: The TMT Show, the first faint stirrings of Seattle punk rock culture. May Day of the Bicentennial year. Three bands rented a hall in the Odd Fellows building on Capitol Hill. About 100 people showed up. From these DIY roots sprang, directly or indirectly, all the noise that emanated from this burg ever since.
• The City Council’s revised South Lake Union rezone: even fewer affordable housing units than Mayor McGinn’s plan, but more preserved Space Needle views for condo owners.
• The old Seattle Rep space, which became the Intiman Playhouse, is now the “Cornish Playhouse at Seattle Center.”
• Ray Harryhausen, 1925-2013: The king of stop-motion animated fantasy was better known than his films’ official directors, for a good reason. Those dudes were simply in charge of the live-action scenes. The filler, if you will. Harryhausen was the films’ real auteur.
• Ex-Miramax boss Harvey Weinstein sez search engines are getting rich off of the pirated works of fine people such as himself.
• I’m not so sure that there really is a “Conservative Quest to Eliminate Facts.” It’s more universal than that.
• It’s not so much that the tech companies listed in one woman’s Tumbler blog “Only Hire Men,” but that they seem to presume only men will even apply to work there.
• Dear Crowdfunders: Millionaire celebrities and billionaire media titans don’t need your Kickstarter money. Really.
• Even the bosses of America’s hyper-bloated “security” bureaucracy don’t seem to know all that’s in it.
• Recent “good news” about newspapers’ paid readership (in print and online) seems, in some cases, to be exaggerated.
• Blogger Mark Manson has “10 Things Most Americans Don’t Know About America.” Number 5: “The quality of life for the average American is not that great.” Number 6: “The rest of the world is not a slum-ridden shithole compared to us.”
• Allen Clifton at Forward Progressives isn’t the first, and won’t be the last, to remind you Jesus probably neither a corporate lobbyist nor a Tea Partier.
• The downside of traditional publishing: A Brit lady who writes popular children’s books really wants her publisher to stop putting them inside pink covers. She says pink turns boy readers away and distracts from her stories’ often-serious content.
• The downside of modern publishing: An American gent who’s written three novels “to good reviews” (if not good sales) tries self-publishing and finds it to be “the worst.”
• I’d be more interested in Out of Print, Vivienne Roumani’s forthcoming documentary about the digital publishing “disruption,” if the director didn’t seem so obsessed with making everyone younger than herself look like an idiot.
• Let’s close for today with some wonderful old Greek and Greek-American music from the 78 era.

the aurora kmart in 2002

• Seattle’s last Kmart store, at 130th and Aurora, has lost its lease and is closing. It first opened in 1968 as a branch of White Front, the long-defunct California chain that begat Toys “R” Us.
• Daniel B. Wood at the Christian Science Monitor asks whether Boeing’s 787 Dreamliner is “too high-tech for its own good.”
• Do we want the Arboretum’s “ramps to nowhere,” the only surviving legacy of the rightfully-halted R.H. Thompson Expressway project of the early 1970s, to be removed? I say no.
• Could legal “pirate” (quasi-unlicensed) radio be coming to Seattle?
• How to guarantee a huge turnout at a city hearing: make it about making the rules for legal pot sales.
• R.I.P. Mary Shirley, who with her ex- Microsoft exec hubby was a major art collector and Seattle Art Museum donor.
• Local blue-eyed-rap star Macklemore has one devout anti-fan in Brandon Sodenberg (“safe-as-fuck, liberal meme-rap”).
• In case you’d forgotten, the Chihuly Museum people promised a kids’ playground and a gallery space for other Northwest artists, in exchange for taking up a huge chunk of Seattle Center land. Neither is anywhere in sight.
• In “boring” news, the big waterfront tunnel digging machine got some small but significant damage during testing in Japan.
• Janie Stilgoe at The Guardian says the days of “content” web sites scrambling to game Google’s search results through “search engine optimization” are over. Google’s revamped its algorithms specifically to discourage it. Instead, Stilgoe says web sites (including news sites) should embrace “content marketing,” whatever that is.
• And let’s end it for today with a scenic tour past some “Faded Motels of the Rust Belt.”

via huffington post

At least, that’s what I hope and pray it will be, for myself and for all of you.

It’s a short distance from either the 1958 or 1968 KIRO-TV buildings, where Chris Wedes performed as J.P. Patches, to Seattle Center’s McCaw Hall, where Wedes was publicly remembered last Saturday.

The distance from the Patches show’s fictional City Dump to McCaw’s clean, modern splendor is far greater.

J.P.’s “little old shack by the railroad track” was a tiny, cluttered little studio set that felt like home.

It was a fun palace for a working-class town.

Within these flimsy walls, pretention was unknown, and funky, honest good times were the rule.

This “room,” barely wide enough to allow full-height camera shots of its inhabitants, was our portal to the infinite realms of imagination.

McCaw’s seats were filled with Patches Pals who’d grown up with the 1958-81 TV show, and others who’d known J.P. only from later personal appearances and home-video retrospectives.

The always affable Pat Cashman hosted, on a stage bedecked with J.P. set pieces and props (mostly re-creations). In between many video montages, Cashman shared his (and our) memories of the man, the clown, the Northwest icon.

One of the video montages was set to a recent song by Aaiiee!, a local ’80s-vintage band now gigging again.

This segment was included when KIRO telecast the memorial later that evening (commercial-free, but cut to an hour).

The telecast cut out a couple of other montage segments, on-stage tributes by John Keister (above) and Dori Monson, and a pre-recorded tribute by Joel McHale.

But home viewers did get the part with Duane Smart, the show’s longest serving “Mr. Music Man,” playing some of the music and sound-effects cuts that burned themselves into kids’ memories.

And they got to see the particularly poignant bit with Stan Boreson, who was both Wedes’ friend and nearest rival (he hosted KING’s afternoon kids’ show for 11 years).

Wedes’ partner in crimes against “good taste” was Bob Newman, who played Gertrude, Boris S. Wort, Ketchikan the Animal Man, and most of the show’s other characters. Newman sat at the front of the audience during the memorial, addressing the audience only in a pre-taped segment. That did not stop the audience from giving him at least two standing ovations.

Chris Ballew, in his “Casper Babypants” persona, closed with the snappy original piece “Meet Me at the City Dump.”

Which is exactly where, in our imaginations, so many of us still regularly go.

Yes, the J.P. Patches show existed to sell peanut butter, cookies, and tennis shoes to impressionable youth, and to fill little bits of time between those commercials and syndicated cartoons.

But it did so much more.

It didn’t invent, but it sure helped spread, a particularly Northwest brand of goofball humor.

It was at once totally childish and totally hip.

It was at once subversive and pro-social.

It mocked social mores (as the best clowning always does) while instilling confidence and reassurance.

It made every viewer feel just a little bit special, a little bit loved.

Thanks, J.P.

As promised, here are my observations of Bumbershoot 2012, Seattle’s annual big culture buffet.

As others have noted, it was a sunny but not unbearably hot three-day weekend, bringing out strong-sized crowd despite the steeper than ever ticket prices. (It was either charge $50 a day, or go back to having no musical stars bigger than Hall & Oates.)

Behold, my first ever deep fried candy bar (a Snickers). Gooey. Messy. Yummy.

How are curly fries made? With good old American industrial knowhow, that’s how.

They may call it the Seattle Center Armory now, but to me it will always be the Center House and/or Food Circus.

In this post-record-industry age, live gigs are more important than ever to a band’s financial model. So are gig posters, as lovingly seen at the latest Flatstock exhibit.

The historic video games exhibit (still up) shows the young’uns what real entertainment was like, 8-bit style.

But amid all the fun there’s some deadly serious stuff. World Vision International would like you to know AIDS is still devastating much of Africa.

This “House of the Immediate Future” was named after a model home full of futuristic devices at the ’62 World’s Fair. The new one exemplifies affordable-housing designs that could be factory-built, then installed on small real-estate footprints.

A few inflatable rides are no substitute for the late, great Fun Forest.

The Toyota-sponsored “Whac-A Hipster” game. Hipster-bashing has become corporate,and therefore beyond passé.

The heart of the “Put the Needle on the Record” exhibit, a mini-recording studio where you can record your own music and/or voices for a time capsule, is this recording lathe that cuts real phonograph-record masters.

Today’s greatest ETA (“Elvis Tribute Artist”), El Vez, does his massive act with a massive in-house video production (like all the big music stages had this year).

An inflatable icon of the original Elvis stood over two exhibits.

To the right, the Record Store, a display of classic vinyl LPs with DJs and live small combos.

To the left, the Elvistravaganza. Marlow Harris and Jo David applied their kitsch curatorial touch to the World’s Fair’s most enduring celebrity visitor. I contributed my (quite modest) ETA talents at the all-day karaoke stage.

As I departed the Center grounds to the soothing strains of Hey Marseilles, I regretted the many acts I hadn’t seen but felt enlivened and revived by the ones I had seen.

realismblog.com

I’ll have more to say about Bumbershoot 2012 later.

But I have to talk about the posthumous tribute exhibit to local urban-landscape painter Christopher Martin Hoff.

The show itself was fabulous, a loving homage to a man who loved the world around him and who deftly expressed all the color, detail, and even love he saw.

At least that’s what I saw in Hoff’s works.

Gary Faigin sees something else.

He’s a cofounder of the Gage Academy of Art and a contributing art critic on KUOW.

He wrote an introductory statement displayed at the Hoff exhibit.

Faigin’s statement begins:

Seattle is not a beautiful city. Its architecture is banal, its layout arbitrary and confusing. It is redeemed by its setting—dream-like mountains and islands tantalizingly close—but one would never know that by looking at the paintings of Christopher Hoff. It was Hoff’s lifework—tragically short, as lives go—to patiently go out into the gritty streets of the Seattle urban core, day after day, week after week, in good weather and bad, and attempt to extract the timeless and poetic from what most of us see as an everyday blur.

I most emphatically disagree with the first three sentences.

And I believe, without having known him, that Hoff would have done likewise.

thestranger.com

Hoff saw beauty in the everyday. In the weather. In the streets. In intersections both straight and angular. In handsome 1920s apartment buildings and in graffiti- and poster-encrusted commercial walls. In warehouses and gas stations and billboards.

He saw the beauty in all this because it was all there to be seen.

Because Seattle IS beautiful.

And not just the picture-postcard parts, the water and the mountains,the Pike Place fish throwers and the glass artists.

All of Seattle is beautiful.

Just as all of you are beautiful.

bumbershoot.org

(PS: This entry’s title, “I Acknowledge Beauty Exists,” comes from a Facebook page devoted to “body image,” inner beauty, and championing the diversity of all peoples. That page’s founders, in turn, based its name on another online activist space, “I Acknowledge Class Warfare Exists.”)

The first human on the moon turned out to be just two weeks younger than my mother.

The “Space Race,” begun with the Soviet Sputnik satellite’s launch, was only four months younger than me.

I was 12 when Apollo 11 landed. The perfect impressionable age for a young male.

The moon landing meant to me what it meant to a lot of guys my age:

The ultimate adventure.

The first steps of “Man” to a strange new world.

The first day of a new era.

I don’t have to tell you things turned out differently.

But we still dream.

Particularly during the 50th anniversary of the Century 21 Exposition.

As part of that, Pacific Northwest Ballet’s staging a “Celebrate Seattle” event on Sept. 16, with astronauts real (Cady Coleman) and fictional (Star Trek’s Nichelle Nichols). The Ballet’s orchestra will play parts of Holst’s The Planets and Dvorak’s Song to the Moon.

It’s good to remember yesterday’s future.

But let’s also build ourselves some new dreams for a real future.

A future in which the work of Armstrong and the entire NASA team behind him will not have been in vain.

zoo atlanta via king-tv

• Ivan, 1962-2012: In the postwar years, the biggest public attractions in both Seattle and Tacoma were caged gorillas. Seattle’s gorilla, Bobo, was kept at the Woodland Park Zoo. Tacoma’s Ivan was in the indie B&I discount store, which later evolved into a low-rent mall. There, he was kept in a cage with a back concrete wall painted to resemble a jungle. After years of public pressure, the mall’s owners finally donated Ivan to Woodland Park, which in turn sent him to Zoo Atlanta.
• Just when folks are getting used to the Space Needle in its retro original “Galaxy Gold” color scheme, its owners want to change it again.
• Thanks to the state’s “top two” election law and a Stranger-fueled write in campaign, the speaker of the State House of Representatives will be challenged this November by a socialist.
• Former City Councilmember Cheryl Chow (daughter of powerful local restaurateur Ruby Chow) has proclaimed that she is a lesbian; and also, as an aside, that she’s dying of cancer.
• The best thing left at Seattle Weekly, longform-essay reporter Rick Anderson, was just laid off and placed on freelance status. Will someone local please buy the paper back from the Arizonans and make it something to be proud of again?
• A tech news site visits the Bellevue company (run by ex-Microsoft top execs) that’s become infamous for buying up patents by the thousands for the purpose of suing other companies that didn’t know these patents existed.
• PopCap Games, the Seattle-based darling of the “social gaming” realm, is firing 50 people.
• Bookstore sales rose 3.8 percent in June compared to the previous year. Sorry, book snobs—you’re still not nearly as solitary as you believe/wish you were.
• Big national corporations have turned the art of finagling sweetheart deals from local governments into a precise science. Today’s examples: sporting-goods superstores.
• ABC’s Nightline, in its 34th year, is the #1 network show in its time slot, regularly outdrawing both Leno and Letterman. Right after the elections, it’ll be pushed up to 12:35 a.m. so Jimmy Kimmel can get the 11:35 slot. And you ask why total TV viewership is down these days, what with these total geniuses running the joints.
• Charles Kenny at Bloomberg Businessweek claims to know “the real reason America’s schools stink.” According to Kenny, it’s know-nothing, do-nothing parents.
• Let’s all “Do the Felix!“

seattle mariners via mynorthwest.com

comicsbronzeage.com

Just Sayin’ Dept: Here’s something that hasn’t been publicized much in the World’s Fair 50th anniversary celebrations.

• Could the Almost Live! cast (or a key portion of it) be reuniting in a new project? A site called The206.tv is being coy n’ teasing about it, at least for now.
• Cafe Racer will reopen. And it’ll look better than ever.
• Seattle’s own Ezell’s has the nation’s greatest fried chicken, according to a highly manipulable Esquire online poll.
• Danny Westneat sees the Sonics Arena plan as a much better deal than the one that was used to rebuild Husky Stadium.
• No, there won’t be a zip line in West Seattle’s Lincoln Park.
• No, there won’t be an Airbus factory in Wash. state. But Gov. Gregoire would really like Airbus to buy parts and services from some of the same local subcontractors and suppliers that service Boeing.
• Just as Rush Limbaugh has his paid phony callers, Mitt Romney buses and flies in loyalist rooters to his campaign speeches. Even to the NAACP!
• It’s the 20th anniversary of the first photo ever posted to a Web site. It was a plug for a retro-cabaret combo comprising “administrative assistants and significant others of scientists” at CERN, the Swiss lab where both the WWW was invented and the Higgs-Boson Particle was discovered. The hereby-linked article includes some of their science-nerd-chic novelty repertoire.
• No, online-meme followers, Bill Gates did not speak at some random unidentified high school and tell the kids, “Life is not fair. Get used to it.” That whole text comes from a newspaper op-ed column dating back to 1996.

painting the needle for its big b-day party

Keith Seinfeld at KPLU recently asked, “Why does Seattle still care about the world’s fair?”

That’s an excellent question.

As international expos go, Seattle’s was relatively small.

And it took place a full half century ago.

Until Mad Men came along, that era was widely considered to have been a dullsville time, a time wtih nothing much worth remembering.

The “Space Age” predicted at the fair would seem would seem ridiculous just a few years later. It predicted domed cities and cheap nuclear power. It predicted computers in the home (in the form of fridge-sized consoles) and video conferencing (with a special “picturephone”), but it didn’t predict the Internet.

It sure didn’t predict the racial, sexual, musical, and social upheavals collectively known as “The Sixties.”

And a lot of the fair’s attractions were so utterly corny, you can wonder why they were taken seriously even then. Attractions such as the world’s largest fruitcake. Or the Bubbleator (essentially just a domed platform on a hydraulic lift). Or the adults-only risqué puppet show (by the future producers of H.R. Pufnstuf).

•

Yet a lot of us do care about all that. And not just us old-timers either.

And not just for the physical structures the fair left behind (the Space Needle, the Science Center, etc.).

The fair was the single most important thing that happened in Seattle between World War II and the rise of Microsoft. (The launch of the Boeing 707 was the next most important.)

The fair revved up the whole Northwest tourism industry, just as jet aircraft and Interstate highways were getting more Americans to explore other parts of their nation. This once-remote corner of the country became a top destination.

The fair was a coming-out party for a new Seattle.

A Seattle dominated not by timber and fishing but by tech. Specifically, by aerospace.  Boeing had only a secondary role in equipping the U.S. space program, but its planes were already making Earth a seemingly smaller place.

The fair didn’t start the Seattle arts and performance scenes, but it gave them a new oomph.

Seattle Opera and the Seattle Repertory Theatre were immediately established in the fair’s wake.

ACT Theatre came soon after. Visual art here was already becoming famous, thanks to the “Northwest School” painters; the fair’s legacy led to increased local exposure to both local and national artists.

The fair established a foothold for modern architecture here.

Before the fair, there hadn’t been a major change to Seattle’s skyline since the Smith Tower in 1914. (The few new downtown buildings were relatively short, such as the 19-story Norton Building.)

The Space Needle became the city’s defining icon, instantly and forever.

The U.S. Science Pavilion (now Pacific Science Center) established the career of Seattle-born architect Minoru Uamasaki, who later designed the former World Trade Center.

•

Speaking of tragedy and turmoil, some commentators have described the fair’s era as “a simpler time.”

It wasn’t.

The Cuban missile crisis, revealed just after the fair ended, threatened to turn the cold war hot.

The whole Vietnam debacle was getting underway.

The civil rights and black power movements were quickly gaining traction.

The birth control pill was just entering widespread use.

Rachel Carson’s book Silent Spring, which helped launch the U.S. environmental movement, came out while the fair was on.

So yes, there were big issues and conflicts in 1962.

•

But there was also something else.

There was optimism.

In every exhibit and display at the fair, there was the notion that humans could work together to solve things.

And, at least at the fair, most everything was considered solveable.

I wrote in 1997, at the fair’s 35th anniversary, that its creators sincerely felt Americas would strive “to ensure mass prosperity (without socialism), strengthen science, popularize education, advance minority rights, and promote artistic excellence.”

It’s that forward-looking confidence that got lost along the road from the Century 21 Exposition to the 21st century.

It’s something many of us would like to see more of these days.

And that, more than Belgian waffles or an Elvis movie, is why Seattle still cares about the World’s Fair.

And why you should too.

(Cross posted with City Living.)

souvenir display at the world's fair anniversary exhibition

foodbeast.com

• Margarita flavored Bud Light: sign of the apocalypse #6 or #7?
• Winning bids for the state liquor stores (or rather, for the right to apply for licenses, negotiate leases, and take over inventory at the stores) are now in. Individual winners have apparently not yet been posted anywhere, but the store at 12th Avenue and East Pine Street went for a cool half million. The state’s total take (should all the sales go through): over $30 million, more than four times estimates reported just last Friday.
• Yesterday, we mentioned how Deluxe Junk, the lovely vintage everything store that’s one of the last remnants of “Fremont funk.” faced a sudden eviction by the Masonic lodge that owns its building. Apparently there’s a settlement; alas, Deluxe Junk will still leave the premises, at the end of June.
• The Real Change folks will get their protest camp in Westlake Park after all.
• One little-publicized event at the big Space Needle anniversary gala: a protest by Needle restaurant workers.
• The Canucks have made sure there won’t be riots in the Vancouver streets this June.
• Here’s a long, loving profile of ex-Seattleite and comix genius Lynda Barry.
• Google and Facebook: They’re hot now, but could they stumble as computing goes mobile?
• Author Michael J. Sandel places blame for the market-ization of almost all of western society. He says the economists did it.
• Paul Krugman blasts Romney, assuredly not for the last time.
• A Georgetown prof really dislikes the Facebook-spawned overuse of the verb “Like.”
• Toby Litt in Granta wonders whether long-form literature can hold an audience, or even be considered relevant, in an age of multitasking and incessant distraction. I say bah. Folks who can finish umpteen-level video games or watch entire TV-show seasons in one weekend can enjoy a story of a few hundred pages.
• Sorry, but I can’t trust any list of the “ten most harmful novels for aspiring writers” that excludes Bukowski.
• The top black women’s magazine hired a white guy as managing editor. What could possibly go wrong? Oh, that he turned out to be a not-so-secret racist wingnut.
• Steven Pearlstein reminds you that some politicians actually want you to be turned off from politics. Remember: Not voting = voting a straight right-wing ticket.
• Making stuff in China will cease being cheap sooner or later. China’s other outsourcing advantages might remain (lax environmental enforcement, autocratic government, brutal suppression of dissent).
• TV ratings, both broadcast and cable, are way down, especially among younger viewers, and especially in terms of “real time” viewing (i.e., without DVRs; i.e., with the commercials). The hardcore TV haters will naturally ignore this, and will continue to insist that Everyone Except Them is a vidiot sheeple.

The renovation (read: upscaling) of the old Food Circus in Seattle Center’s Center House had one sad, unpublicized aspect.

The project pushed out the last Pizza Haven.

It was an unsung end to a company founded in 1958 by Ron Bean (son of Pay n’ Save Drug/Lamonts Apparel mogul Lamont Bean).

It started with a single dine-in location on University Way and a home delivery operation (the first of its kind around here). Instead of baking pies to order, Pizza Haven’s trucks originally cruised around with pre-made inventory in warming ovens, ready to go wherever radio dispatch operators sent them.

At its peak the chain had 42 outlets down as far as northern California, and even franchises in Russia and the Middle East. It had a cute cartoon “Mr. Pizza” mascot, and fun TV commercials with angels welcoming you to “Haven—Pizza Haven, the place all good pizza eaters go when they’re hungry.”

Then Domino’s came to town, and Pizza Hut added delivery-only stores.

Pizza Haven repositioned itself into slice stands in mall food courts. But fiscal troubles continued.

The chain declared bankruptcy in 1997. The following year, every branch except Center House closed.

Bean tried to relaunch Pizza Haven in 2001, but it didn’t get off the ground.

The Center House slice stand continued for another decade, feeding the tourists and the local old-timers who’d grown up with the brand.

Until now.