musing

All in the service of #beerhistory

Fred Eckhardt collection at OHBAA box of Fred Eckhardt’s papers at the Oregon Hops and Brewing Archives.

I would not know Tumblr still exists if it weren’t home to the Oregon Hops and Brewing Archives blog. It seems that’s just one more way it is a link to the past.

As Tiah Edmunson-Morton wrote in her tweet this past weekend, the #beerhistory field has grown impressively since she started OHBA seven years ago.

I wrote about her and the archives for DRAFT magazine two years into the run. (You can find the story here, but be aware the site is no longer secure.)

Edmunson-Morton has been running ahead of the crowd from the start, already practicing what Paul Eisloeffel of the Nebraska State Historical Society called holistic collecting, “thinking outside of the archives box” and gathering artifacts as well as historical documents. This doesn’t necessarily come naturally.

“Dealing with artifacts has always been a problem for standalone archives,” he said. He’s a proponent of the sort of proactive collecting Edmunson-Morton undertook. “It is important for archivists to be able to look at what’s happening in a culture and start collecting now. I really applaud her.”

In “But What If We’re Wrong” author Chuck Klosterman writes, “It’s impossible to understand the world of today until today has become tomorrow.” It’s also impossible if somebody is not saving the important stuff to begin with.

Whither the future of beer writing?

The future of beer writing?

Saturday, Boak & Bailey wrote that self-published books are the future of beer writing, the premise being, “Books about beer seem to be evolving in ways we like quite a bit: getting more specific, exploring fresh territory, enjoying the freedom of new business models.”

They offer two new books — Pete Brown’s “Craft: An Argument” and Andreas Krenmair’s “Vienna Lager” — as examples. Both are excellent, and they are quite different, supporting Boak & Bailey’s thesis. Still, I pause anytime I see the words “future of [fill in the blank] writing,” although there are good reasons to be considering them. A few thoughts:

– Self publishing allows writers/authors to distribute words that would not otherwise be published. Presumably they will earn something in the process.

– Blogging allows writers to distribute words that would not otherwise be published. It is a hard way to earn money. On Thursday, Alan McLeod repeated his pitch for more beer blogging, more new voices. (Suggesting how complicated this might be, his weekly news wrapup included only one link to a personal beer blog, and that one has a corporate sponsor).

– New writers may stick to old territory, but somebody is going to find new ways to write about new subjects for new audiences.

– Consider the responses to a question Robin LeBanc asked on Twitter the week before last.

“Question for the beer writers out there inspired by a few conversations: with all that’s going on, how do you stay motivated or inspired to talk about beer?

“I would like to clarify that I mean not what your usual drive is, but where your drive comes from when the world is as it is, currently on fire with a lot of hate, pain, and issues that make beer seem supremely unimportant in comparison.”

Read the thread. Change, not change within the same thread.

– Beer and brewing will continue to change. What’s in the glass and everything related to how it is made always have.

“Historians love chapter breaks,” Robert Kaplan, an American foreign-policy expert and former member of the U.S. Defense Policy Board, told an Atlantic magazine reporter in May. “COVID-19 will come to be seen as a chapter break.”

It certainly has been for most of the 8,000-plus breweries in the United States. Kaplan spoke before 989 breweries (as of 11:00 a.m. GMT, July 13) signed up to brew a Black Is Beautiful Beer, part of “a collaborative effort to raise awareness for the injustices people of color face daily and raise funds for police brutality reform and legal defense for those who have been wronged.”

Let’s be honest, many breweries will consider that their contribution to change. Others will just be getting started.

Who will tell these stories and how will they do it?

Three faces of authenticity (and the diddley-bow)

Today’s post is part of #BeeryLongReads2020. Look for the hashtag on Twitter or visit BoakandBailey.com to find more long reads. Also, note that I’ve embedded tweets, but also included the words in the story for those who may not see the embeds.

About a week ago, Jenny Pfäfflin—a beer, baseball and Danish hot dog enthusiast who happens to be exam manager for @cicerone—tweeted, “I pretty much lean into tradition when it comes to beer and brewing—because it’s what I’m interested in—but the discussion around ‘authenticity’ is often exhausting. That somehow, if it isn’t ‘authentic,’ it isn’t good. And who bears the right to deem something authentic anyway?”

Perhaps authenticity is worth considering within the context of music.

*****

Lonnie Pitchford, who was listed among the artists who would be playing Delta blues on this steamy 1992 August night, slid himself onto a barstool somewhat unsteadily and ordered a cocktail. A fan approached him cautiously to ask what time he expected he’d make it to the small stage at the Rivermount Lounge in Clarksdale, Mississippi. R.L. Burnside has just finished and The Jelly Roll Kings were setting up.

“Nah. Can’t. I’m messed up,” Pitchford said. “Tomorrow.”

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Significant beer digits V (and some Monday links)

The longest-ever bull market ended last week. When it began — March 9, 2009 — there were about 1,550 breweries in the country. (About because the Brewers Association count at the end of 2008 has been revised a few times, and the official total is now 1,523 at the end of 2008 and 1,600 at the end of 2009).

Since then about 7,500 have opened, and about 1,300 have closed. (About because the BA has not released final 2019 totals.)

That’s 7,500, or so, breweries that have only sold their beer while the economy was expanding . . . and, of course, before social distancing.

Almost 3,000 of the country’s 8,000-plus breweries are brewery-restaurants. A good portion of the others are breweries with taprooms, in some cases earning most of their income from what they sell across the bar. Social distancing was not in their business plan.

Further reading:

– What COVID-19 Means for the Beer Industry’s Frontline Staff

– Beer industry watches and waits as coronavirus epidemic unfolds

– Coronavirus Impact on Beer Industry: Taproom Closures, Event Cancellations

– ProBrewer Wants To Help In This Crisis — Let’s Talk

– Brewers Association’s Bob Pease Discusses The Road Ahead for Small Brewers

– The Coronavirus Cost to Business and Workers: ‘It Has All Gone to Hell’

– The Dos and Don’ts of Social Distancing

– “A single person’s behavior can cause ripple effects that touch faraway people”

– Game Theory of Social Distancing in Response to an Epidemic

AND FROM TWITTER

Why look for reasons not to like a beer?

In Drink Better Beer, author Josh Bernstein writes about spending a day with the sensory panel at Allagash Brewing in Maine, acting briefly as a panelist himself.

I ponder my sample of White, the brewery’s flagship witbier, which should taste slightly sweet and sour, mildly bitter, and faintly of minerals. “Tastes overly harsh,” I write in the iPad set up with sensory software from DaughtLab, which collects data on panelists’ impressions. “Too astringent.” I move on to the Belgian-style Tripel, a beer evocative of honey, bubble game, grapes, and green apples. “This is a sourness I don’t love,” I write. The coffee-infused James Bean, a triple aged in bourbon barrels, has a “drying sourness that turns me off,” while the smoothly malty House Beer hits its pear and grapefruit notes.

Whow, that was a lot of flawed beer, I think.

Except, it turns out only the Tripel was adulterated, dosed with acetic acid.

Later Bernstein tastes three different samples of White, and documents the flaws in each. Except, it turns out two are flawless, and in fact, the same beer. “It’s a combination that I use often with guests and new tasters to show when they are overly critical,” says Karl Arnberg, who manages the sensory program as Allagash.

Think about it for a moment. Why look for reasons not to like a beer? No doubt, quality is important. That’s why Bernstein invested a day in Portland, Maine. There’s good reason for those in the beer business to learn to identify what are classified as off flavors, and it useful to some to understand what causes them.

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