Here’s a wonderful set of photos featuring two stores from one of Southern California’s most fondly remembered supermarket chains – the late, lamented Alpha Beta. The photos were taken in the early 70’s by Werner Weiss, webmaster of the Yesterland website, a superb tribute to the early years of Disneyland. Yesterland, one of the most celebrated and influential nostalgia sites on the web, marked its 20th anniversary online last year. Though Alpha Beta had stores all over SoCal (and several in other regions as well), these were both located in “The O.C.” – Orange County, Alpha Beta’s home turf.
Sunday, September 13, 2015
Fighting Inflation at Alpha Beta
Here’s a wonderful set of photos featuring two stores from one of Southern California’s most fondly remembered supermarket chains – the late, lamented Alpha Beta. The photos were taken in the early 70’s by Werner Weiss, webmaster of the Yesterland website, a superb tribute to the early years of Disneyland. Yesterland, one of the most celebrated and influential nostalgia sites on the web, marked its 20th anniversary online last year. Though Alpha Beta had stores all over SoCal (and several in other regions as well), these were both located in “The O.C.” – Orange County, Alpha Beta’s home turf.
Friday, May 3, 2013
The Modern Side of J.C. Penney

“Picked at random, a single J.C. Penney Co. store can be a remarkably unimpressive establishment.” So went the opening line of a long and generally laudatory September 1950 Fortune magazine article about the then nearly 50-year old retailer. The statement was true enough of the majority of J.C. Penney stores of the day. While certainly not unpleasant, a “low-key handsomeness” was about the most one could credit to the typical Penney store design.
But scattered among their 1,600-plus stores at the time were a number of bonafide architectural gems –fine examples of deco and moderne styling that undoubtedly stood out from their respective city blocks at the time. A fortunate few of these buildings, including the two pictured above, survive today – though neither one has housed a J.C. Penney for years. One thrives as part of a major specialty retail chain, while the future of the other is less assured. In the first photo, the rented searchlight (note the name of the company, “Film Ad Co.” – with all the movie premieres in town, these were probably fairly easy to come by in the L.A. area) is on site and ready to go for the grand opening of the new Penney store at the corner of 3rd Street and Wilshire Boulevard in Santa Monica, California, which opened in 1949.
This store was designed by Milton L. Anderson, a little-known Los Angeles-based architect, who also designed fine-looking Penney stores in San Bernardino and Burbank around the same time. Like his more renowned counterpart, Stiles Clements (the store directly faced a Clements-designed Ralphs grocery store across the street), Anderson designed in the Spanish Colonial Revival style in the late 1920’s, a popular Southern California architectural motif in the era just prior to the advent of art deco/streamline moderne, which he later embraced.
The specific style of this building, according to a 2006 City of Santa Monica Landmark Assessment and Evaluation report, is classified as Late Moderne, a school that “borrowed the horizontality, curved canopies, and curved corners from the Streamline Moderne style, and the flat roof, window bands, and boxy form of the International Style… Broad cantilevered rectilinear or curved canopies were also a character-defining feature… (as were) soaring sign pylons that dominated (a) building’s facade.” The report underscores the store’s most notable design feature, the “cylindrical fluted tower on the building’s northeast corner that rises above the roofline to form a prominent anchor to the retail store building as seen from Wilshire Boulevard and 3rd Street.”
The store (which replaced J.C. Penney’s original 1930’s-vintage Santa Monica unit at 1328 3rd Street, just up the block) both predated and survived Penney’s “full-line era”, roughly the early 1960’s through the early 1980’s, when the company sold large appliances, sporting goods, automotive and other assorted hard goods in addition to the Penney staples of clothing, linens, towels and the like. In all likelihood, the Santa Monica store, due to its location and relatively small size, never ventured far beyond the company’s traditional soft goods offerings.
In 1965 a three-block area of 3rd Street, encompassing the Penney store and other retailers, was closed off for conversion to a pedestrian mall. Known since then as the “3rd Street Promenade”, it remains successful today, no doubt owing to its limited scope, successfully avoiding the pitfalls of overreach that have doomed conversions like it in other cities.
The store survived under the Penney flag into the mid-1990’s, a point when the vast majority of these had long since been supplanted by large, regional mall-based stores. (Amazingly, a similar store hung in there all the way until last summer.) Since 1998, the store has been a prominent location for Banana Republic, the upscale banner of Gap Inc. The famous façade has been preserved (sans the Penney signage, of course), and $7 million worth of interior renovations were carried out. As of this writing, it looks like The Gap is putting this one up for sublease. Perhaps another supplier of high-end khakis will show some interest in this beautiful building.
Even more striking, perhaps, is the second store pictured, which opened the same year at 5930 Easton Avenue (later renamed Dr. Martin Luther King Drive) in St. Louis, Missouri, in an area of town known as the Wellston Loop. Once again, Penney engaged the services of a local architect, William P. McMahon & Sons, and once again a stunningly-designed building resulted.
McMahon, a St. Louis native, had already enjoyed a long career at that point, having designed homes, churches and various commercial buildings around town beginning in 1907. By the 1930’s he was working in partnership with his son, Bernard, a recent architectural school graduate who favored Modernism and would spend time in California, where streamlined design reigned supreme. By the time the Penney project rolled around, Bernard had long since mastered the form. Not to be outdone, the elder McMahon brought his own Modernist sensibilities to the job, honed through aerodynamic design work he did for a military aircraft manufacturer during World War II, when building design commissions were slow in coming.
The Wellston J.C. Penney store is considered a prime example of the International Style of Modernism, according to a 2006 report submitted to the National Register of Historic Places. It “typifies (the International style) through its rejection of ornamentation, incorporation of horizontal ribbon windows with cantilevered surrounds and dependence on regularity to organize the primary façade rather than axial symmetry.” (The difference between ‘regularity’ and ‘symmetry’ being “lots of windows or other structural features placed at regular intervals” as opposed to “the strict symmetry of a Greek temple”, the historical precept upon which much architecture was, and is, based. This excellent series of articles explains the concept better than I could ever hope to.) The building’s crowning feature, literally and figuratively, is its floating partial canopy, with cutouts that “frame views of the sky.”
Penney had opened their first St. Louis store two decades earlier, in 1928, at 2604 North 14th Street, and two others quickly followed – at the corner of Morganford and Gravois in 1929, then at 5976 Easton Avenue (doors away from the featured store) in 1930. This gave the company locations “north, south and west of downtown” respectively, according to the NHRP report.
Interestingly, “Unlike St. Louis’s three largest department stores, Stix Baer & Fuller, Scruggs-Vandervoort Barney and Famous Barr, J.C. Penney chose not to build a central store downtown. Instead, Penney’s focused on a decentralized model of retailing along the lines of Woolworth’s and other national chains by locating multiple in neighborhoods where its customers lived”, the report says. (This wasn’t necessarily true of Woolworth’s or Penney’s in other large cities, though, as both chains had a number of major downtown flagship stores by this time. But St. Louis was an exception.)
The Wellston store’s location enabled it to capitalize on the migration of St. Louisans to the suburbs while continuing to draw a fair amount of business from city dwellers. (Penney opened a second very successful neighborhood location the following year, 1950, at the Hampton Village Shopping Center, with the polar opposite architectural theme – a “Colonial Williamsburg” motif. That store remains open today.)
As late as 1967, the Wellston store still qualified as a key link in the Penney chain, and as such it was approved for an extensive “New Image” makeover that year, putting it in league with their new mall-based showplaces at Northwest Plaza and South County Center. By 1976, however, things had changed. In the report’s words, “the trends that enabled the Wellston store to be successful through the 1950s and 60s propelled shoppers even further westward; changing neighborhood demographics hastened the company’s departure.” That year, the Wellston J.C. Penney store closed. For the last 37 years it has stood vacant.
The building has been the subject of controversy in recent years, and nearly met its demise a few years ago when the local alderman withdrew his previous support for its preservation. Fortunately, St. Louis is blessed with a preservation community that’s second to none, and with a disproportionate number of great mid-century architectural blogs that tend to put the word out about such things. The best of the bunch, in my opinion, is B.E.L.T. – “The Built Environment in Layman’s Terms”, written by Toby Weiss (who also sings in a band called The Remodels – how great is that?). She recently informed me that the building has indeed been added to the National Register of Historic Places, and that the referenced alderman “has backed off on wanting to tear it down.” Other than that, all is quiet.
Of course, the key to survival of any historic retail building is a viable tenant. Maybe someone offering mid-priced khakis will give it a go.
As always, my special thanks to the J.C. Penney Archives at Southern Methodist University’s DeGolyer Library for the use of these great photos.
Wednesday, September 26, 2012
Bring Back the San Fernando Penney's!
Monday, July 2, 2012
J.C. Penney, King of the Soft Goods



Monday, February 6, 2012
Shopping in Los Angeles - The 1950's
There’s a ritual I never fail to observe when traveling to Los Angeles on business. I’ve done it for years now. Once I land, usually at LAX, grab my rental car and hit the road, I call home to let everyone know I arrived safely (transcontinental flight, you know), and at some point in the conversation I exclaim “I love L.A.!” in my best, most frazzled Randy Newman voice. It’s the title line from his 1983 hit song, and sometimes I’ll throw it in more than once. It’s an old shtick, but my wife still humors me each time.
And I really do love it. Not because I’m driving a convertible (just an “intermediate” car, which is rental car company language for “yogurt cup on wheels”) or wearing a Hawaiian shirt (“business casual” isn’t that casual, I’m afraid) or accompanied by bikini-clad women (the call home would be awkward to say the least), but because of all of the great-looking old retail buildings there: Spanish-style, mid-century modern, bizarre and uncategorizable, you name it. Sure, scads of them have been torn down over the years, but there’s still a lot to see - simply because so many were built there in the first place.
Thankfully, much of this is well-documented in still photographs, but I can’t help but wonder what it all must have looked like from the windshield perspective in its heyday. The amazing film clip above, from 1954 (sincere thanks to Julie for bringing it to my attention) is the closest thing I’ve found to that. Only 1:50 long, it provides a great, if fleeting, full-color snapshot of the City of Angels at an exciting point in the early postwar era.
I don’t know the origin of this particular clip, but it was likely made for a commercial purpose of some type. It’s a nice example of a genre known today as “ephemeral films” – educational films for classroom use or promotional movies produced for tourism bureaus, trade associations or corporations. They were glowing salutes to The American Way - progress and prosperity, the natural result of virtue, ingenuity and hard work. These films provide a fascinating, if not complete, slice of life from those times. And they always seemed to feature bouncy, optimistic soundtracks with plucking strings and insanely peppy woodwinds. I’m tempted to think that music like this just played in the air in those days, and could be heard whenever you stepped outside. (Someone, please tell me this was true!)
The local icons are well represented here - starting out with the approach to downtown L.A., we see the famous City Hall in a perfect “Dragnet establishing shot”, followed by the Angels Flight inclined railway in the Bunker Hill area of town. Then on to some of the main drags, including South Broadway in downtown L.A., Wilshire Boulevard and Hollywood Boulevard, where a crowd is lined up outside Grauman’s Chinese Theatre (only the side of the building is shown – the Kodak theatre now sits in that spot next door, square atop the intersection of Hollywood and Orchid) for a showing of “The Robe”, one of those films the late movie palace historian Ben Hall would have called “the latest version of the Bible according to Cinemascope”.
And then (you knew we’d get around to this, didn’t you?) comes the really fun stuff, as far as those who regularly visit this site are concerned. In addition to the “postcard scenes” described above, the film depicts some of the L.A. area’s most noteworthy retail properties of the day, which by default means some of the most noteworthy anywhere. A few notes:

First up is a great pan shot of the Broadway-Crenshaw Center, opened in late 1947 in southwest Los Angeles and sporting subtleties of color one wouldn’t imagine based on the many period black and white photos that exist of the place. Interestingly, the facades seen here facing the parking lot were virtually duplicated on the opposite side of the shopping center, which lined the sidewalk along Crenshaw Boulevard.Two years earlier the intersection of Crenshaw and Santa Barbara Avenue (renamed Martin Luther King Jr. Blvd in the 1980’s) was home to only trees, grass and assorted wildlife, but the nearby population was beginning to boom. When The May Company announced plans to build a large branch store there, the Broadway reciprocated with plans for a huge Crenshaw location of its own, with a strip of some 15 supporting stores in tow, right across the street. Among the other tenants were Woolworth’s, Lerner Shops, Owl Rexall Drugs, Silverwoods (a downtown L.A.-based men’s clothing store) and a detached Von’s supermarket.
The design of the center was the work of architect Albert B. Gardner, who also had a hand in designing the circa-1928 City Hall seen at the beginning of the clip. One of the very largest shopping centers in the country at the time it opened, Broadway-Crenshaw yielded some important lessons for future retail development. I’ve summarized a few of them from Richard Longstreth’s great book “City Center to Regional Mall: Architecture, the Automobile, and Retailing in Los Angeles, 1920-1950” which devotes several pages to the center: For one, the head-to-head competition that both May Co. and The Broadway were dreading turned out to be a net plus, an early example of the drawing power of multiple large department stores in close proximity. Secondly, there was no need for the “duplicate storefronts” along the street line. Most customers drove to the center and used the parking lot, so “sidewalk shoppers” accounted for a low percentage of sales. Future shopping centers like this, for the most part, were slid to the middle of the parking lot. Third, Broadway-Crenshaw really needed a second large anchor to balance the traffic flow to the other stores. (The May Co. store didn’t count in that regard, of course.) This helped lead to the opposite ends or “dumbbell” configuration for 2-anchor malls seen countless times in the ensuing years. It also became clear that anchor department stores of this type could handle, and really needed, far more than 15 supporting stores.
The shopping center is now known as Baldwin Hills Crenshaw Plaza, which encompasses both the former Broadway and May Company properties. The Broadway store building still exists as the best-looking Walmart that will ever be, while the May Co. store is now a Macy’s. The smaller stores were torn down and replaced years ago. The photo above (same pic, two different “zoom levels”) is from the 1951 book “Shopping Centers – Design and Operation” by Geoffrey Baker and Bruno Funaro, a vital early text on the subject.
The Von’s (apostrophe long since dropped) supermarket at Crenshaw Center was not designed by Mr. Gardner, but by another L.A.-based architectural heavyweight, Stiles Clements. Mr. Clements had already done a great deal of work for Ralphs, one of Von’s main competitors, with designs ranging from exquisite Spanish-styled markets to some of the most striking streamlined buildings ever seen in retail. In later years, Clements played a key role in refining Sears’ distinctive “West Coast look”.Lauded in an August 24, 1950 Los Angeles Times article as being “Rated the World’s Largest Grocery”, the store was indeed huge for the times at over 58,000 square feet (roughly half of that selling space), and it featured a mural depicting scenes of California history along the entire back wall, painted by artist Bert Makos. This photo also comes from the Baker and Funaro book cited above. Note the windmill on the corner - the beloved trademark of Van de Kamp’s, operator of supermarket bakery departments all over SoCal as well as their own coffee/bakery shops.
Then, a brief glimpse of an early fifties Safeway store from an unidentified location. (I first assumed it was the nearby 39th and Crenshaw location that opened in 1952, but an opening day photo in the Los Angeles Times proved otherwise.) This store is typical of those Safeway was opening in many locations at that time, before the yellow-pyloned exteriors of the mid-fifties and the Marina family of designs launched at decade’s end. With over 10,000 feet of selling space, these stores must have seemed immense compared to the small, white-painted masonry units the company favored (note the first photo here) just a few years earlier.The similarly-designed store pictured above was located in Lancaster, California. This photo appears here by the kind courtesy of Jacques Gautreaux, and is part of his great collection of retail photos from northern L.A. County’s Antelope Valley, taken in 1966.
The legendary Westwood Village Ralphs market appears next, a subject already covered in some depth here. Many thanks to “vieilles_annonces” (check out her astounding collection of vintage slides and magazine articles here) for use of the photo above. It predates the film clip by more than a decade, but offers a wonderful color view of the approach into town on Westwood Boulevard. Among other iconic structures are the Ralphs store to the right, Westwood’s unique Sears store in the middle, and the A&P (only the spire is visible) to the left. 
A relatively minor entry in the SoCal retail history books is long-gone independent supermarket chain McDaniel’s Markets, which featured a jaunty Scotsman as their mascot and a tartan pattern as a key design element in their ads and on stores. By mid-1957, McDaniel’s had six stores, located in North Hollywood, Beverly Hills, East L.A. (famous as the birthplace of Cheech Marin), Maywood and Baldwin Park, according to the Los Angeles Times. That year, McDaniel’s bought out the six-store Walker’s Market chain, and between those stores and additional units built over the years, the company eventually grew to almost 25 stores.
In the early 60’s McDaniel’s went bankrupt, selling their choicest locations to Food Giant Markets. I wonder if some creative sloganeering would helped, like “Visit the Plaid Pylon, where we pile on the deals!” or “More buying power under the Tartan Tower!” (Or maybe it would have hastened their demise, you say.) The photo above, an artist’s rendering of the Oxnard, California location, appears here courtesy of the Los Angeles Public Library.
After that comes the sleek, curved facade of the Owl Rexall Drug at the corner of Beverly and La Cienega Boulevards (near the border of West Hollywood and Beverly Hills), which opened in the fall of 1947 and is shown here in a publicity photo taken shortly thereafter. The huge, ultramodern drugstore was only the (curved) tip of the iceberg in this case, as it was attached to the new world headquarters of United-Rexall Drug Inc., which relocated there from Boston. The move was the brainchild of company president Justin Dart, a dashing, enigmatic former Walgreen executive (and former Walgreen son-in-law) who came to United in 1941 and wasted no time casting the company in his own image. Indeed, the firm would eventually be known as Dart Industries, with interests that ranged far beyond drugstores.Owl, Rexall’s major west coast banner, was closely controlled by the parent company, as was its eastern counterpart Liggett, and hundreds of Rexall drug stores were operated under these two names. While neither Owl nor Liggett were strictly confined to the coasts, most Rexall stores in between (in what hipsters like you and I call “flyover country”) were more likely to sport one of multitudes of franchisee names on the familiar orange-and-blue signs.
The four-day grand opening kicked off on September 15, 1947 and at the podium, along with Dart himself, was California Governor Earl Warren (this was six years before he was appointed Chief Justice of the U.S. Supreme Court and had better things to do, like reshaping American life), Wisconsin Governor Oscar Rennebohm (Because he owned 14 Rexall drugstores in Madison, that’s why!), the mayor and the sheriff of Los Angeles, executives from Eastman Kodak, Coca-Cola and Lambert Pharmacal (later known as Warner-Lambert) and other dignitaries too numerous to name here.
And there were celebrities galore, owing to Rexall’s prominence as a national sponsor and advertiser in those years when radio was the undisputed media king and many people went to the movies every single week – Jimmy Durante emceed each of the four days, and there were appearances by Dorothy Lamour, Red Skelton, Mickey Rooney, Peter Lawford, Pat O’Brien, Alan Young of future “Mister Ed” TV fame, Lynn Bari - a beautiful 20th Century Fox contract actress who deserved greater fame, and legendary newspaper gossip columnist Hedda Hopper. (Gosh, you’d think they would’ve put some more thought into this. I mean, drugstores don’t open every day, you know.)
Today the location is home to a CVS Pharmacy, Marshalls and a number of other retail tenants. The corner facade is still curved, leading me to believe the building shell may be original, but I don’t know that for a fact.
Another drugstore icon immediately follows. We see the Thrifty Drug location at the corner of Rodeo Road and La Brea Avenue in the Baldwin Hills area of Los Angeles, just a mile and a half from Crenshaw Center. By this time Thrifty, a fixture of the L.A. retail scene for decades, was well underway with a program to open larger stores in shopping center settings versus the traditional smaller streetfront units, although the latter type still made up the bulk of Thrifty’s then 100-plus stores.Thrifty’s largest store yet, it was part of a shopping center developed by the company that also boasted a new Alpha Beta supermarket as a key tenant. As with the Owl Rexall store above, the store was built in conjunction with a new home office for the company (Thrifty was the third largest drug chain in America at that time) on the property.
The Baldwin Hills Thrifty attained instant landmark status due to its massive sign tower, affectionately named the “Trilon”. At 65 feet tall with three 15 by 35 foot faces (Weighing in at 12 tons, according to the Los Angeles Times. Did somebody throw this thing on a scale?) and a unique, funky steel structure design that brings to (my) mind some of Alexander Calder’s “stabile” sculpture pieces, the Trilon certainly served its purpose as an attention-getter for Thrifty.
The shopping center’s “premiere” (I just thought of that. Nice, huh?) took place on November 13, 1952 with actress Anne Baxter performing the ceremonial duties, an experience I’m sure she ranked right up there with her recent Oscar nomination for “All About Eve”. (Well, kinda sure, that is…) The next evening, singer/actor Tony Martin performed live at the Thrifty store. Mr. Martin, still kicking at age 99 and performing as recently as 2010, is one of the last survivors among America’s great crooners. He was married to Cyd Charisse, the great star of such classic MGM musicals as Singin’ in the Rain, The Band Wagon and Silk Stockings, (shown all the time on TCM – if you haven’t seen them, you should) for 60 years until her passing in 2008.
The sign, which survived the infamous 1963 Baldwin Hills dam break and flood, still stands while the accompanying building bears scant resemblance to the original. It now sports the name of Rite Aid, Thrifty’s successor. The picture above is a detail from the store’s grand opening ad.
Last is an interesting curiosity - the Big Owl Market, or as the sign reads, “The Market of Tomorrow”. This venture by Owl Drug (United-Rexall) was a very early, largely forgotten attempt at a supermarket-drugstore combination, a format that would catch on big in the following decade, and indeed remains the template for the industry today.Tested out on a smaller basis in Ontario, California a few months previously, the Big Owl opened on November 1, 1951 at the corner of Laurel Canyon Boulevard and Kittredge Street in North Hollywood, just a couple of blocks up from the giant new Sears store on Victory Boulevard. The opening-day celebrity here was Lorraine Cugat, singer and (soon to be ex-) wife of bandleader Xavier Cugat. The store really did foreshadow some key elements of the combination store/superstore idea, with “a See’s candy shop (Is it legal to leave the State of California without a box of See’s candy? I don’t want to find out.), Van de Kamp’s bakery, dry cleaning shop, a liquor, tobacco, pen and camera room (all you need, right?), a gift shop and a 12-chair barber shop with a jet fire engine chair for the youngsters”, along with “a watch and jewelry repair shop, a check-cash service, a bill-paying service and a soda fountain grill.”, according to a pre-opening write-up in the Los Angeles Times. To my knowledge, they never opened another one.
The clip’s closing scenes reinforce the “America, land of plenty” theme, starting with a really nice shot of a grocery store checkout lane in action. It’s interesting to note the still-familiar brand names as they whizz past the wood grain-painted metal cash register. What’s striking is how small the package sizes were in that era before “economy size” became the rule. Ironically, with manufacturers reducing package sizes as a response to the current economy, we just might be trending that way again.
From there, there’s a glimpse of the Ford Assembly Plant in Long Beach, followed by one of its General Motors counterpart in Van Nuys, two important cogs in the economic engine that helped make all of this prosperity possible. Both have long since closed, and sadly we won’t be trending that way again. Then it’s back on the open road, a fine place to be indeed.
I think next time I’m out that way I’ll try to whistle a few bars of the “insanely peppy woodwinds” theme. I’ve been practicing. Or maybe I should just stick with Randy Newman.
Sunday, January 1, 2012
Happy New Year!
Happy 2012, and welcome to the start of a new year of Pleasant Family Shopping, where we revisit those great everyday places from our past – the supermarket, the discount store, the shopping center and more. Think about it – they’ve changed more than a little through the years, haven’t they?And to start the year off right, we’ve adopted a special theme. I like to call it “ring out the old, ring in the new” for short. (Originality. The hallmark of this website.) To symbolize this, I refer you to the photo above, circa early 1971, showing the huge, brand new Safeway supermarket in Lafayette, California, replete with mansard roof, open and ready for business. (Still there, now with a Starbucks!) In front of it is the original Safeway it replaced, shortly before the older store assumed a flat, paved-over configuration, er…became a parking lot.
So that’s our theme – ring out the old…away with the pylons and pastel colors…the barrel roofs and the checkered tile floors that held us back!
And ring in the new…bring on the cedar shingles and earth tones…the Norwegian woods…the ferns and the lower-case fonts that help us to find our true inner selves.
Ok, wait a minute – sure, I like mansard roofs. Earth tones are great, and lower-case fonts have improved all of our lives, there’s scientific proof* of that. But I still like pylons, too! And pastels, barrel roofs and funky tile still move me. I can’t help it, I want ‘em both! I want it all. Now.
In fact, I’m peeved that they ever tore the old Safeway down in this case. I’m thinking a “Safeway Visitors Center” would have been the perfect use for the old store. Heck, the Starbucks could’ve been put there! Sure, people might have had to carry their groceries a block or so on busy days (when jars were glass instead of plastic), but that's not too much to ask, is it?
* According to Dave’s scientific method.
Monday, November 21, 2011
Mr. Penney, Mountains & Main Street




The pages of retail history are filled with the names of companies that no longer exist. Many of them were the picture of success for decades on end. They were leaders in their field - patronized, respected and loved by millions of customers. Household names. For one reason or another, these companies failed to adapt to conditions, and consequently they’re gone – sold out to a competitor, or just shuttered altogether.











