Tag: Beer

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Greene King and Bombardier to go head to head on the telly

Real ale is about to burst onto our screens in a big way.

The week before last, two of the UK’s biggest ale brands launched their new advertising campaigns to beer writers and trade journalists.  I was invited to one launch but, for some reason, not the other one the day after – even though seemingly everyone else who was at the first one was.  Please believe me that this in no way colours what I’m about to say about these two campaigns.  I’m bigger than that.  No, really, I am, honest.  But I tell you this so you can filter the following for any perceived prejudice.

Anyway, I used to work in advertising so this, for me, is in part going back to the day job.

The second event – the one I wasn’t invited to – was launching the next wave in the new campaign for Well’s Bombardier.  Now, I get the feeling that I’m going to come across as disliking this development a lot more than I actually do, so let me say some positive things about it first, and hopefully this will prevent a hit squad being despatched from Bedford – home of William Charles Bedford, ‘your dashing hero on the battlefield, with a caddish twinkle in his eye,’ according to the press release (I am at least still on their email distribution list – at least until they read this.)

Basically, what they’re doing is extending the campaign they launched last year, with Rik Mayall playing the Bombardier, drinking the beer and extolling its virtues with what Well’s & Youngs clearly hope will become a pub catchphrase: ‘Bang on!’  They’re going for a heavyweight promotion on Dave, the channel for blokes who like repeats of the programme Stewart Lee refers to as ‘Mock the Weak’.  Ten and fifteen second idents will frame peak time programmes.  I haven’t seen the idents because like I said, I wasn’t invited to the launch, and didn’t get to meet Rik Mayall, but the press release says ‘viewers can expect to see the Bombardier’s take on the English sense of humour, values, our love of pubs and our social habits.’

They’re spending £5m on this, which is great news for Bombardier and great news for ale too.  It’s the highest ever spend they’ve put behind the brand (but not the highest ever spend in the ale category, as the press release falsely claims).  Whatever your views on the beer and the campaign, this is brilliant because it helps propel ale into the mainstream, makes it more visible and more contemporary.  When I do focus groups, many people assume that if a brand is on telly it must be good, must be doing something right, and this leads to greater social currency.  So here Bombardier are helping ale look more modern (with some caveats, below).  It’s also a great sign of confidence – they wouldn’t spend this money if they didn’t think cask ale was in good shape and people were ready to consider it.

Secondly, they’ve got with the programme and done a Facebook page and taken the Bombardier on to Twitter, extending a true brand property and providing content which people can interact with.  That’s a good thing as far as marketing, brand building, and the saliency of real ale is concerned.

But.

For me, this entire campaign feels like it’s aping lager ads of the seventies and eighties, and even lagers don’t behave like that any more.  Rik Mayall is reprising a character he played in Blackadder thirty years ago, in a slightly less funny way than it was then.  Is this really the way to make ale feel fresh, contemporary and appealing to new generations of drinkers?

To make my own mind up, I followed the link to the youtube channel at the bottom of the press release I was sent.  And I got this:

Woof woof! Bang Off, chaps!

The ads launch 16th April and run from 9pm to midnight weekdays for twelve months.

The other campaign is from Bombardier’s rival, Greene King.  Disliked by many readers of this blog and diehard ale drinkers in general, scorned for bland beers and nicknamed ‘Greed King’ for their sometimes voracious business practices, booed when they were runner-up Champion Beer of Britain a few years ago, they can sometimes come across as difficult to love, and have clearly been doing a bit of soul searching.

I think the results are a pleasant surprise.

Greene King IPA is the UK’s biggest cask ale brand.  It still only has a 7% market share – the diversity and fragmentation of the ale market is (most of the time) one of its main strengths. But GK IPA is, for better or worse, still the biggest brand.  I don’t tend to drink it myself, but clearly lots of people like it.  And like Magner’s does with cider, if it attracts people to real ale for the first time who then start to look around and trade up, that’s no bad thing.

In marketing theory, one classic strategy for the brand leader is to do a job that grows the whole market rather than trying to steal share form your competitors.  The theory is that if you’re already the biggest, advertising what’s good about the whole market means you benefit everyone else, but if the market grows proportionately then you’ll gain more in volume terms than everyone else does.  Most new entrants to any market tend to go for the biggest brands, so you’ll probably grow disproportionately, benefiting everyone but, most of all, yourself.

This is the strategy GK has chosen, and I think it’ll paid off.

They’ve created an ad that quite simply celebrates the joys of good cask beer in a good pub – not the joys of hops and malt and yeast, but the moment that beer – and only beer – can create.

This has always been what’s excited me most as a writer, and it’s lovely to see a brand that has wonga to spend and an ad agency with creative skill taking this aspect of beer and celebrating it.  It’s an ad for the pub as much as it is an advert for beer or Greene King IPA specifically, and I think it’s rather fucking wonderful:

I particularly like the opening, in the cellar – just enough beer craft for the mainstream viewer without getting too technical or boring.  Even if you don’t understand what you’re seeing, you get the impression of craft and care, the sense that this is something a bit more special than what you can buy in the supermarket.

The ad was shot in the Hornsey Tavern, north London, and the music is by a precocious eighteen year-old called Jake Bugg, who is to my ears like Ed Sheeran, only good.  The gaffer is an actor, but many of the people are real punters, sharing real beer moments.  The finished ad has been culled from about five hours of footage, the film crew just passing through the pub as people relaxed and shared a good time having a beer.  It’s the kind of positive image of beer and pubs the whole industry sorely needs more of.

GK is spending £4m behind this, and it’s breaking on 14th and 15th April, during the FA Cup semi-finals on ITV and ESPN.  It’s also going to be on Sky and Dave.

Coinciding with this, they also launched two new beers under the Greene King IPA brand: IPA Gold, a 4.1% golden ale, and IPA reserve, a 5.6% rich, mellow, fruity ale.  For anyone who drinks or works in a Greene King pub, these beers are welcome additions.  The golden ale is a golden ale, no better or worse than many in the market just now, while the reserve is in Fullers ESB territory, and dangerously drinkable.  They won’t set RateBeer alight, but they’re not meant to – that’s not what they’re for.  But they are quite drinkable beers that bring Greene King’s portfolio a bit closer to what drinkers want.

My only, obvious, quarrel is that, already under fire for calling a 3.6% session beer IPA, they’ve now brought out two new beers that are very different from the original, obviously not India Pale Ales in any shape or form, and called them India Pale Ales.  This reveals that as far as Greene King is concerned, IPA is a brand name and not a beer style.  I could just about defend the mainstream GK IPA because while it’s not a traditional IPA, IPA is an evolving style and in the mid-twentieth century this is what it was to most brewers and drinkers in the UK.  But by calling these new beers IPA rather than just ‘Greene King Blonde’ or ‘Greene King Reserve’, GK have created a needless rod for beer enthusiasts to beat them with – a silly own goal at a time when they’re doing some big things right.

GK has also launched an attractive Facebook page to support the campaign.

One tip to both brands: Facebook is an interactive medium.  If people ask you if it’s possible to buy Bombardier in North America or who did the music on the IPA ad, it’s good manners and good business sense to reply.  Don’t fall into the trap of bigger brands who pretend to be there on Facebook but don’t actually read or respond to comments, thereby actively alienating some of your biggest fans.  oh hang on – EDIT – GK actually did respond.

I’m anticipating many tiresome comments about how both these beers are shit, boring and bland, made by big corporations, and that it’s a bad thing they’re on TV.  My answer to that would be that these beers, and these ads, are not aimed at people who write beer blogs and drink in craft beer bars.   We’re fine – we don’t need to be told that real ale is a decent drink or that pubs are nice places to be.  No one who is already drinking great craft beer is going to suddenly start switching to Bombardier or Greene King IPA as a result of these ads.  The useful job that big brands can do is bring more novices into ale for the first time – and remind people how great pubs are.  With nearly £10m being spent advertising real ale over the next few months, this is fantastic news for beer as a whole – whatever you choose to drink yourself.

Cheers to both of them.  Especially the second one.

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Odessa in London

Almost a year ago now I went down to Otley Brewing in South Wales and did a brew with them.  Unlike many collaborative brews, they made me come up with the recipe, select the hops and everything.  When I co-created Brew Dog’s Avery Brown Dredge with Zak and Mark, they did most of the work and I just said things like, “Yes. very good.” This time I was on my own.  Nowhere to hide.  (There’s a nice video of the brew day of you follow the link above).

Inspired by Martin Dickie’s ginger nuts (we were very hungover) I decided I wanted to brew an imperial stout with ginger.  And chocolate.  And then mature it in whisky casks for a year.You may say that’s showing off.  I say it was cruising for a fall.  As I kept chucking handfuls of crystallised ginger and Belgian chocolate drops into the copper when Nick Otley wasn’t looking (unaware that Nick was doing the same when I wasn’t looking) I was genuinely worried it wouldn’t work.

For ten months, some of this beer sat in bourbon barrels and some in mead barrels.  Nick finally tasted it last weekend and after he stopped saying ‘wow!’ (which took a while) he said it was pitch black, and very warming.

Tomorrow you get a chance to see if we pulled it off or whether I should stick to writing rather than brewing.  Odessa Imperial Stout is launching in four London pubs, and Nick and I are touring them to give it a try in each one.  Each pub gets either the whisky or the mead finish, randomly chosen.  So if you can, it’s worth trying at least three pubs.  The beer will of course be on sale all day until it runs out.  But if you want to see me or Nick (save the difficult questions for him) our rough timetable is as follows:

1.       The White Horse, Parsons Green, between 1pm & 2pm
2.       The Rake, Borough, between 3pm & 4pm
3.       The Jolly Butchers, Stoke Newington, between 5pm & 6pm
4.       The Southampton Arms, Kentish Town, between 7pm & 8pm

I’ll be tweeting events for as long as I can focus.  Though after the first couple of pints of this stuff, I may well ask someone to take my phone off me.

See you there!

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Some thoughts on writing about beer history

As I emerge from the British Library, blinking like a mole in the winter sun, I see Martyn Cornell has been doing what he enjoys best, demolishing a passing historical claim that someone else has made.

There was a spat before Christmas about the excellent Oxford Companion to Beer.  Many in the beer blogosphere were queueing up to find errors and cite them as proof that the book is worthless, or at the very least, deeply flawed.  This turned into a rather worrying witch hunt where almost any positive mention of the OCB online was rooted out and lambasted (one beer writer was even attacked on his Facebook page for posting that he was looking forward to reading it).

My response to this was along the lines of ‘of course there are errors – but if you take the thing as a whole, it’s a great piece of work’.  This was (mis)interpreted by some as me saying that errors didn’t matter, and the pursuit of truth, of fact, in beer history was unimportant.

That is not what I meant at all.  If I did mean that, I wouldn’t, for example, have spent all day yesterday in the London Metropolitan Archives reading through letters sent between brewers Flower & Sons and their lawyers regarding their taking over the lease of the George Inn, Southwark – something that will surely take only a line or two in my new book, but which I took a thousand words of notes on, because I want to make sure I get it absolutely right.

What I do think, though, after spending nearly a year doing research that is as forensic and detailed as I can possibly do on the history of coaching inns, pubs in general and one pub in particular, is that some who are interested in the history of beer are in danger of strangling the study of it by imposing standards that are too strict, that are tighter than any proper academic historian would insist upon.

If you’re not that bothered about the study of beer history, please stop reading now, because you’re going to get really bored if you don’t.

First, a few caveats:

One, I greatly admire the work that people like Martyn Cornell and Ron Pattinson do.  I know from great experience myself that it’s not exactly easy, fun or rewarding to trawl through historical documents in search of the truth.  It’s much easier to simply cite what some bloke said in a book eighty years ago without checking where he got it from.  Standards of beer scholarship are improving, and people like Martyn and Ron are playing a significant role in this.

Two, I don’t want to excuse errors – where they are in fact errors, as opposed to differing interpretations.  And I’m not here to defend the OCB’s entry on the yard of ale.  I actually agree with Martyn that the original yard of ale entry in OCB looks like it’s wrong, though I believe that it’s the result of a simple confusion with the ‘stirrup cup’, which is a similar shape to the yard, but smaller – still wrong and in need of correction, but not exactly the biggest controversy ever to rear its beery head.

Three, although this post was prompted by Martyn’s latest, it shouldn’t be read (just) as a criticism of Marytn – he makes points similar to those below towards the end of his post, and I agree with a lot of what he says there.  What follows has been inspired by Martyn’s post – and other comments he’s made previously – rather than being a direct rebuttal.  I’m sure he would agree with much of what follows.

With those out of the way, my main beef is this: there seems to be a growing view that if there isn’t definite, written, primary source proof of something, than we cannot assert that it is true in an historical context, and we shouldn’t be saying it.

I’m sorry, but that’s just not right.  If real historians behaved like this, we wouldn’t have any history at all.

Having come fresh from the coalface, here’s how written historical sources work: since the mid-twentieth century and the age of mass communication, you can find lots of references to pretty much anything if you know where to look.  The biggest problem facing future historians looking at the early 21st century will be too much material relating to any subject, not too little.

Go back to the nineteenth century, and it’s a bit harder.  There are newspapers and magazines – quite a lot of them – and if you’re lucky enough to find databases that have them as word-searchable PDFs, you can fillet all mentions of your chosen subject from tons of last century’s chip paper within minutes.  The trouble is, you know how now, the mainstream press don’t write much about beer?  Well, they didn’t much then, either.  For example, over 99.9% of the 16,000 mentions of ‘India Pale Ale’ in the Burley Collection of 18th and 19th century newspapers are in the classified ads section, and while the first few you look at are very revealing (that’s where I discovered the earliest actual mention of ‘India Pale Ale’ for example) after that, they’re all the same.

Go back before that, and most of the population were illiterate.  Newspapers die out altogether when you reach the seventeenth century.  Now it gets trickier.  There’s the odd diarist whose work has survived, which is why if you read anything historical about the seventeenth century (including my new book) you will unfailingly discover what John Evelyn and Samuel Pepys thought about the subject at hand.

Before that, anything that the Church had direct involvement in, you’re laughing, because they kept copious records of everything.  Anything the monarch did, you’re on safe ground.  But social history?  Stuff that everyday people did?  That gets tricky.  There are legal records if your subject got into trouble.  But unless the Church or the law were interested, written records start to become very thin on the ground.  You’re relying on diarists, the odd pamphleteer (who usually had a particular view on his subject – many of our best descriptions of Elizabethan alehouses come from Puritans who thought they were the ‘nests of Satan’) and the occasional, isolated traveller or chronicler, and you kind of have to go with what those individuals say.

In terms of tangible fact, this is then supplemented by archaeological evidence.  This is incredibly useful.  But foodstuffs, clothing and almost anything else soft and perishable haven’t survived.

Our accurate record of what Elizabethan theatres looked like inside rests on a one page description and a drawing done by a Swiss traveller in 1594 – the rebuilt Globe Theatre relied on this, and the partial foundations of the original.  There are three surviving portraits which we think are William Shakespeare, and scant references to him in legal documents.  There isn’t even a definitely agreed version of his complete works, as whole plays were rarely copied.  Bill Bryson set out to write a book on Shakespeare that just stuck to the known facts.  It’s less than 200 pages long, and he’s padded it out with all sorts of more general stuff about Elizabethan England.  And this is Shakespeare – not some pub, brewery or drinking custom.

So when primary source stuff gets thin, what do you do?

You do not ‘make things up’.

But you do become flexible.

Martyn regularly pours scorn on historical claims that are made long after the fact.  But the first real account of the Battle of Hastings (leaving aside the Bayeux Tapestry) was written by William of Malmesbury over a century after to happened, and historians accept it as definitive.  Historians haven’t always provided academic references and footnotes – that doesn’t mean their work is invalid.  Also, when most people were illiterate, much history was handed down orally before someone put it to paper.  Inevitably, this introduces an element of Chinese Whispers.  But it’s that or nothing – and academic historians, while not always accepting such accounts as gospel (now there’s an interesting example) will usually at least take the gist of it to be true, or use it as a guide.  So while I’m not saying (because I don’t believe) that the yard of ale was invented for stage coach drivers, I am arguing that the fact that this claim wasn’t made until the 1950s is not on its own sufficient grounds to dismiss it.

Martyn’s other maxim is along the lines of ‘the first law of history is don’t assume’.  I’d like to see where these universally agreed laws of history are written down, and have a look at what the others are, because in the history I’ve been reading – mostly books written by academics who work in history departments in reputable universities – educated, reasoned assumptions are being made all the time.  ‘Could’, ‘might’, ‘perhaps,’, ‘possibly’ and ‘maybe’ are some of the most popular words in academic history.  Where I would agree with Martyn 100% is that if it is a ‘could’ or a ‘might’, any writer – especially one working on something as illustrious as the OCB – has an obligation to make this clear rather than writing ‘was’ or ‘did’, and this is a sin of mine that I’ve now resolved to fix. But I’d argue that this is the main area where standards need to be improved.  The simple ‘there’s no written evidence so we must assume it’s wrong’ approach simply is not how history works.

These issues have particular relevance for the study of beer and pubs, because at the time, a lot of this shit just didn’t get written down.  Whenever the yard of ale was invented, and for whatever purpose, no one whose work survives thought it worth recording.  So what are you going to do?  It obviously was invented by someone, at some point, so we are not wrong to speculate on what did happen.

If we don’t, we reduce history to virtually nothing.  And we have to look in a broader context.  That first mention of ‘India Pale Ale’ came at least seventy years after strong, hoppy pale had been exported to the Indian market – so how can we assert when this beer called ‘IPA’ first appeared?

The now pretty-much dismissed claim that George Hodgson began exporting pale ale to India in 1785 is based on this being the date it was first advertised in the Calcutta Gazette.  But the reason it wasn’t advertised before then is not that the beer didn’t exist in India, but that the Calcutta Gazette didn’t.  So when did Hodsgon first export his beer?

Another useful example for me is the story that IPA was first introduced to Britain in 1827 when a ship bound for India was shipwrecked off Liverpool, the casks washed up on the beach, and were auctioned by the ship’s insurance company, and the locals loved the beer and started demanding it at home.  Martyn has dismissed this as ‘myth’ because the claim was made fifty years after the fact, and it’s not mentioned anywhere else.  He says it never happened. Now, if we’re talking about how IPA was introduced to Britain, I totally agree.  A quick look at Peter Matthias’s brilliant brewing history shows that Bass and Allsopp were advertising pale ales domestically in the early 1820s.  In the 1830s, IPA became popular in Britain among families returning from India.  Hodgson, while being squeezed out of the Indian market, saw an opportunity back home and started advertising his beer as the taste of India.  But to say the shipwreck never happened?  That’s an even bolder claim than the original assertion.  Visit any Cornish coastal pub, for example, and you’ll find walls decorated with facsimiles of posters advertising auctions of cargo from shipwrecks from the early nineteenth century.  They happened all the time – surely at least one of these auctions would have included India-bound beer.  I’m certain that the 1827 shipwreck did happen, that India-bound beer was sold to Scousers and that they loved it.  After all, why would anyone simply make up such a story from their imagination?  But this is not how IPA was introduced to Britain.  It’s an important distinction in how we read historical data, how we interpret it.

Writing history is all about interpretation, and we have to make assumptions, especially when studying the history of the beer and pubs.  For example, I will be claiming that inn-yard theatre happened in the George Inn, Southwark, despite a complete lack of evidence that it did.  Why?  Because there are records of it happening in inn-yards across London and all over the country.  It often happened when there was a big fair.  It happened in larger inn-yards.  The George had  a large inn-yard.  Southwark Fair was one of the biggest fairs in the country.  Plays happened in the yard of the Queens Arms just down the road.  Therefore, I can assume, with a high degree of confidence, that plays also happened in the George.

One final point – and forgive me if this sounds defensive.  As a historian, you have an obligation to be as thorough in your research as you can be.  But as a writer aiming at a mainstream audience, you have an obligation to be as readable and interesting as you can be.  For the mainstream writer, in any discipline, it’s a balance between the two, and Bryson’s Shakespeare is a perfect example of how to do it brilliantly.  Just because the detail isn’t on the page in front of you, doesn’t mean it’s not there.

At the end of Martyn’s yard of ale post he gives a brilliant acknowledgement that we cannot research every single last fact back to primary sources, so I don’t think we’re that far apart in the overall scheme of things.

But please – even on the big stuff, sometimes, just because there is no primary source, that doesn’t mean it’s wrong.  Sorry, but that’s not how history works.

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If you’ve read this far, then you’re obviously pretty interested in beer history.  So I’d just like to give a plug to the Brewery History Society.  Membership is only £15 a year, and you get a lot for your money. Martyn is on the editorial board so he would definitely agree with me on this!

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The Rules of Drinking

There’s light at the end of the tunnel.  Switching metaphors at the points, if it were a loaf of bread, you’d just be able to see it start to rise.
It’s been a very long three months, but on NYE I printed off a rough, shaky first draft of my next book.  The chapters that aren’t quite finished are bloody awful.  The chapters that are finished are pretty good – or at least, my long-suffering editor and wife think so.  And I have two weeks left to kick, bitch-slap, coax, polish, persuade, trick and massage the rest of it into shape.
This week, then, represents a partial return to the blogosphere.  Don’t try to pretend you missed me, now.
I’m ashamed to say my first post-book post is a shameless plug, but it is for something I think you’ll like.  
Last May I spent an afternoon in the Jolly Butchers with a BBC film crew.  I’d just about forgotten about it, and then I got a call this morning to say that the programme is finally going out this week.
It’s a Timeshift documentary called The Rules of Drinking, and it charts our relationship with booze, particularly since the Second World War.  Me and a chap called Iain Gately, whose book on the History of Drink you should have on your shelves, are the two main contributors, only you’re spared having to watch much of me by some fantastic archive footage they’ve found to go over the things we’re talking about.
Here’s the blurb, from BBC4:
Timeshift digs into the archive to discover the unwritten rules that have governed the way we drink in Britain.
In the pubs and working men’s clubs of the forties and fifties there were strict customs governing who stood where. To be invited to sup at the bar was a rite of passage for many young men, and it took years for women to be accepted into these bastions of masculinity. As the country prospered and foreign travel became widely available, so new drinking habits were introduced as we discovered wine and, even more exotically, cocktails.
People began to drink at home as well as at work, where journalists typified a tradition of the liquid lunch. Advertising played its part as lager was first sold as a woman’s drink and then the drink of choice for young men with a bit of disposable income. The rules changed and changed again, but they were always there – unwritten and unspoken, yet underwriting our complicated relationship with drinking.
The waspish and lovely Grace Dent gave the programme a fantastic write-up in the Guardian last Saturday,  acknowledging that there is such a thing as binge drinking, without being judgemental about it or trying to build it to a point of hysteria.  She concludes:

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A jolly weekend in Cockermouth (stop sniggering at the back)

Great weekend last weekend, but I have to slow down and get this damn book written.

After the Social Media Beer Tasting in Glasgow, I went down to the Lake District for Taste Cumbria.  They’re really doing an awful lot to promote Cumbria as a food and drink destination, and it’s working really well.

Friday night I stayed at the Kirkstile Inn just outside Cockermouth, one of those pubs where the thick stone walls, wood fires and silence outside save for the hiss of river and tree lull you to sleep like a baby.  Another reason to go there is that it’s the brewery tap for the Loweswater Brewery, also known as Cumbrian Legendary Ales.  Their Loweswater Gold was named Champion Golden Beer of Britain at this year’s Great British Beer Festival, and the only thing better than sinking a few pints of it would be doing so after tramping across some of the irresistible mountains just outside.  They were calling to me, I tell you. They just weren’t calling as loudly as the comfy seat by the fire, or my bed, or one other very noteworthy beer.

CLA also brew Croglin Vampire.

Completely out of keeping with a range of beers that’s very nice but nothing you wouldn’t expect from a Cumbrian brewer, Croglin Vampire is an 8% Doppelbock, rich and spiritous, dark and brandy-like, and utterly wonderful.  Currently the Kirkstile Inn is about the only place you can get it.  Don’t worry, it’s a worthwhile trip.  Just as well they have rooms.

Next day we were off into Cockermouth – yes, Cockermouth – for the festival itself.  This is where Jennings Brewery is.  Again, the beers are good quality but nothing that you wouldn’t expect here.  But I love the story of Jennings brewery.  I’m not an apologist for big regional brewers – I just have an open mind about them.  I find this quite an interesting place to be. When Jennings was bought by Marston’s in 2005, the local CAMRA branch shouted that Marston’s were going to close the brewery, and continued to shout this even when Marston’s invested £250,000 improving the brewery.  If Marston’s had the slightest intention of closing the brewery, they had the perfect excuse to do so when it flooded in 2009.

Photo: Vanessa Graham on www.visitcumbria.com

But they didn’t.  They invested millions getting it open again.  I don’t know if anyone still thinks Marston’s are going to close Jennings, but if anyone does think that, I’ve got some magic beans you might want to buy.

But I digress.  On the first day of the festival, Jeff Pickthall and I were doing a beer and food matching event.  We’re both a bit vague about organisational stuff, and so were Taste Cumbria, so we ended up with about two hours to put some pairing suggestions together from food and beer being exhibited at the festival.  Not everyone was keen to have their stuff featured.  It was like an episode of the Apprentice. But as people filed into the room, we were just about succeeding in putting plates together for the following:

Mitchell Krause Hefe Weizen with goats cheese from Wardhall Dairy

Hardknott Cueboid with smoked cured boar

Jennings Sneck Lifter with lovely raisin fudge from Duerdens Confectioners of Burnley

Coniston Brewery’s Blacksmith ale with an amazing chocolate cake from Ginger Bakers in Ulverston

(We swapped these two around – people were split on what went best)

The aforementioned Croglin Vampire with Parsonby, another cheese from Wardhall which has been rind-washed in The Black Galloway porter from Sulwath brewery.  Beer washed cheese is the future, if you like your cheese smelly and overpowering like I do.

Thanks to everyone who agreed to donate stuff for us.  Amazingly, despite time constraints, exploding hefe weizen bottles and seventy extra people turning up just when we thought we’d done enough plates of food, it all went rather well, and the matches were ace.

Later, we sampled the delights of Cockermouth nightlife.  And encountered the Boogie Bus:

The ‘Big Boogie Bus’ – does that mean there’s a little one somewhere?

As you can see, it’s a pink bus that has pole dancers and lap dancers and glowing dance floors inside it. It roams the streets of Cumbria, stopping to lure stag and hen parties on board.  Then it glows brightly, drives off, and the stag and hen parties are never seen or heard from again.

Jeff and I decided to pass.  Instead we roamed the pubs in search of good beer.  And finally, after trying everywhere else, we found Cockermouth’s perfect pub, a place I’d be happy to see in any town.

1761 is modern and stylish without trying too hard.  It has Guinness, Strongbow and Carlsberg on the pumps because that’s what people want.  But it also has a good selection of local cask ales, and a small but perfectly formed range of craft beers in bottles including Little Creatures, Orval, Duvel, and Pietra.

There isn’t a full kitchen, but they do something I wish more pubs would do – a small, simple tapas menu.  We had stuffed jalapeno peppers, a cured meat platter, cheese platter, and some chorizo cooked in wine, which formed a great alternative to the curry and Cobra we were planning on.

I write about 1761 because it deserves to be written about.  It’s not a fully fledged craft beer pub, but it’s a pub with aspirations that understands the needs of its local community, is independent, and friendly.  It’s not boring like some.  It’s not too raucous like others.  There should be more pubs like it.

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Cheers to International IPA Day

What a great opportunity to take stock.  What a smart use of social media.

Two tweeters decided it might be a nice idea to get the online beer community to have a global celebration of the craft beer world’s favourite beer style, and the day was set for today, 4th August.

As far as I can tell there is no central organisational structure, no big budget or organisation, and yet it’s an idea that has caught the imaginations of beer lovers and gone global.

So what are we supposed to do?  What actually happens?  That’s up to you.  It’s up to breweries, pubs and drinkers to organise tastings, drinking, events, whatever really.  A quick google search shows that many people across the planet have taken up the challenge.

Why IPA?  It’s a perfect meme for every aspect of beer appreciation.  It’s a definable style – even though that definition mutates continually over time.  It has a long, deeply chronicled history – and that history has given birth to more myths, mythbusting, speculation, misinterpretation and debate than anything else in beer.  It’s a perfect showcase for hops – the facet of beer that craft drinkers get most excited about.  And it’s the style that caught the imagination of the US craft beer movement, that symbolises it.  It’s the constant across the many styles craft brewers brew, a shop window for their craft.  The union of a traditional old-style IPA recipe and the tropical orchard of flavours and aromas bestowed by New World hops lit a fire in craft brewing that’s now burning world over.

For me, my first taste of an American IPA was the equivalent of my first taste of a real curry: it was like tasting in colour for the first time, as if everything I’d tasted before was black and white.  From there it became an obsession that would profoundly change my life.  In 2007 I embarked on a mission to recreate IPA’s historic voyage from Burton to India around the Cape of Good Hope for the first time since 1869.  My attempt to recreate the effects of the journey was partially successful, as was my attempt to write the most thorough, detailed history of IPA to date.  Neither of these partial successes has stopped the arguments, the mythbuilding and busting, the speculation, and that’s entirely how it should be.

The resulting book, Hops & Glory, moved me up a big notch in my career, earned me the Beer Writer of the Year gong, and to date represents the best writing I can do.  I can never look at IPA the same way again.

Tonight, my contribution to the celebrations is that I’ll be tweeting from a 6-course IPA day feast at the Dean Swift, London SE1.  It’s a lovely little pub run by passionate, knowledgable people, and they’ve pulled together what looks to be an amazing menu, which I’m not allowed to share.  If you want to know how that goes, follow @PeteBrownBeer on Twitter from 7pm UK time.

And raise a glass to the world’s most talked about beer style, and the people who have harnessed the power of social media to celebrate it in such a great way.

I promise I will go back ranting and/or trying to be funny after this post.

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Surviving the Great Baltic Adventure

Yes, I know it’s the middle of the summer – that’s why it’s daylight at 11pm.  But this is the Baltic Sea. On a good day.

Life is never boring.
Following the absolute exhaustion of the Stoke Newington Literary Festival, I’d like to say it seemed like a great idea to join the Great Baltic Adventure, sailing to St Petersburg with fourteen casks of Russian Imperial Stout.  Except it didn’t – it felt like a really stupid idea. 
And it was. 
Like my last big sea adventure, we weren’t long into it before my wife wanted to divorce me.  Not because I was away from her this time, but because she was on the ship with me.  We were ill equipped and under-prepared, yearning for sleep and running on fumes. 
Two weeks later, Liz declares it the best holiday she’s ever had (despite the entirely fictitious account on her Beer Widow blog of how it came about) and we’re both in some kind of wonderful sensory overload phase where flushing toilets and hot baths give us all-over intense pleasure, where after two weeks of listening only to waves, wind and engine noise has made music in my headphones feels more intense and beautiful than it ever has, and yet part of each of us is still on the ship, still swaying, still squinting at the horizon, still sharing inanities, UHT-milk flavoured tea and endless Custard Creams with the ragged, wasted bunch of beery eccentrics we now call close friends.
“Father” Tim O’Rourke is my new beer hero.  When I pissed off to India with Barry the Barrel, it was one man’s search for a book idea that could trump the previous one.  Tim, while inspired by Hops and Glory, has managed to achieve something much greater, something that turned into a trade mission for British beer and a quirky news story that repeatedly captured the imagination of the BBC – here and here  – and various other media outlets.
If you saw me standing in a Russian brewery wearing a tri-corner hat, looking greasy and smelly, I apologise.  If you heard Tim and me on the Today programme, I hope we sounded not too mad.
Between us, we have a great deal to say about the effects of sea-aging on beer.  I’ve got more to say about Russian Imperial Stout in general, as well as Finnish Sahti, Russian Kvass, the Baltika Brewery, Finnish microbrewers, why you should go and drink in Tallinn, or if not then at least the Red Bull in Histon, Cambridgeshire, and why there’s no people like boat people like no people I know.  
From Sting personally trying to ruin my life, to watching films about dogs turning into men while deep in conversation with Russia’s first Belgian microbrewer, to face-offs with pathetic gangsters driving ancient Ladas (or ‘cab drivers’ as the Russians call them) to the case for Disturbingly Random Theme Bars, to why it can be handy to view British ale as others see it – it’s not a book. It’s not a coherent article or single blog post.  I don’t know what it is yet.  I’ll try to make sense of it and present the best bits in the most appropriate and interesting way over the next couple of weeks.
Till then – would anyone like a Custard Cream?*
Good night.
*Sorry – on this score I think you probably had to be there.

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Confused cognitive pathways and books and beer

Synaesthesia – it’s one of my favourite words. 
According to Wikipedia, it’s “a neurologically-based condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway”.  So seeing colours might evoke sounds, you might ‘taste’ texture, and so on.
Since I learned of it, I’d tell myself I had it.  And recently, doing a bit of research, I discovered I do have a particular strain.  Since an early age, I’ve always thought that numbers have personalities – 6 is a bit hysterical, 7 cool and aloof, 5 friendly and garrulous, 2 cool and elegant, 9 a bit sly, and so on.  I also visualise dates, years, and days of the week three-dimensionally, on curved lines.  I’d always thought this was entirely normal.  Turns out it’s all a variant of synaesthesia known as ‘ordinal linguistic personification’.  So there you go.
But I think we all have a yearning for cross-neural pathways.  Information from one sense can fit – or not fit – with information from another sense to create a more or less pleasant holistic sensory experience.
Everyone who has ever put a soundtrack to a movie, chosen music for a pub, restaurant or dinner party, decided they prefer the feel of a book in their hands to the theoretical convenience of a Kindle, or played the Withnail and I drinking game has, at some level, matched different sensory stimulation to create a more pleasing experience.
So while beer and food matching is being extensively promoted by beer writers and brewers, you can also match beer with music, films, books, anything really.  I wrote a few years ago about how research at Herriott Watt discovered that different styles of music actually changed the enjoyment of wine that was drunk while it was being played.  
You can take words that apply to experiences in any sense – music, pictures, flavour, texture – and whether it’s complex, loud, light, spritzy, heavy, dark or whatever, they go well together.
But on another level, it’s just a bit of fun – a ruse to get some interesting beers in front of people who may otherwise be unaware of them or choose not to drink them. 
The success of this ruse was borne out at my first proper ‘beer and book matching’ talk, last Sunday as part of the Beer Widow’s Stoke Newington Literary Festival.  The sell-out audience (OK, it was a small venue) was one of the most mixed I’ve ever spoken to, about 50-50 men and women, mostly unfamiliar with my writing, mostly unfamiliar with the beers I’d chosen. It worked really well, taking the beer conversation into completely new territory and making porter fans out of at least two steadfast red wine drinkers. 
I didn’t have time to go out into the wider field of literature and match non-beer related novels thematically or tonally, but I hope to do some of that in future. All the following are beer or pub related and simply provide a platform to talk about some good beers, while showing in a different way how important beer and pubs are to society, and to our collective imagination.

Hops and Glory with Curious Brew IPA

Obvious starting point – the reason I came up with this idea is that I’ve been half-jokingly calling readings/tastings of my beer trilogy ‘beer and book matching’.  I used the title here, then realised people were probably expecting something more.  And H&G led in a very convoluted way to StokeyLitFest happening – it was while I was touring the book round literary festivals in 2009 with the Beer Widow at my side that she had the inspiration for the event. 
I read bits that showed what she’d had to put up with when I made the journey, and tasted a restrained but flavourful IPA from the folk who make Chapel Down Wines.

The Flying Inn by GK Chesterton with Brentwood Summer Virgin

Chesterton is one of my favourite writers, a total polymath whose ideas and language feel totally relevant today.  A century ago, he wrote “The whole modern world has divided itself into Conservatives and Progressives. The business of Progressives is to go on making mistakes. The business of the Conservatives is to prevent the mistakes from being corrected.”  This struck me as having some resonance with the whole CAMRA vs Blogeratti debate. 
But that wasn’t why I chose him.  The Flying Inn is the story of a slimy, devious, PR-savvy Prime Minister trying to kill pubs and usher in prohibition via the back door.  It seems to have a particular contemporary relevance.
It’s a charming read, a pastoral ramble down English country lanes, across fields and through copses.  (No one talks about copses any more.  Where have all the copses gone?)  As such, I felt it needed a golden ale, a beer that evoked summer evening and birdsong.  Brentwood, an Essex brewer, were very generous in response to a Twitter plea and supplied me with Summer Virgin, their first brew, which won the Chelmsford Summer Beer Festival in 2007 and fit the bill perfectly.

London Fields by Martin Amis with Brew Dog Avery Brown Dredge

On one level, Amis and Brew Dog feel like a perfect match: undeniable brilliance, undeniable arrogance, they piss off a lot of people, but even those people have to admit that on their day, few can match them.
I love Keith Talent, the lager-drinking, darts-obsessed protagonist of London Fields. This is easily Amis’ best work.  Even though he can’t help sneering at the stupid poor people in down-at-heel boozers, frustratingly he captures something true and timeless about those boozers.  And Keith’s defence of lager – “It’s kegged, innit?  You know what you’re getting.  Kegged,” meant I simply had to read it now.
ABD is a lager I hope Keith would have liked.  It’s still tasting bloody marvellous.  It combines the brute power of Keith ‘The Finisher’ with the elegance and mystery of his obsession, the beguiling Nicola Six.  Shit, I should probably have said that on Sunday.

‘Neath the Mask by John M East with Curious Brew Porter

Long story – this is a biography of an actor by his grandson – also an actor.  The family had a long association with the George Inn in Southwark, subject of my next book.  This biog has some great material about the George, especially its association with Charles Dickens, who was a regular porter drinker in the pub. And there’s a punchline to this particular luvvie biog that I’m going to have to keep under wraps till I’ve got it right in the book.  Another showing for Curious Brew – their beers are really rather good, if you don’t believe a beer has to tear up the rulebook to be good.

Honourable mention: Westerham Little Scotney Pale Ale

I recently featured this beer in my 50 best British beers in the Morning Advertiser.  I love it because it’s one of those beers that’s hoppy without being HOPPY, structured, refined and friendly.  Westerham’s offered to send me some beer for the tasting.  In the middle of festival chaos I was told it had arrived.  Three hours before my event I was looking for it, couldn’t find it.  The following day it turned up, unopened, behind one of the festival bars.  Guys, I promise I will make good, literary use of it.
So, I think I’ll take this format out on the road – just as soon as I’ve ironed out some of the kinks such as Chesterton’s casual racism and Amis’ tongue twisters, and perhaps broadened the repertoire. 
What do you think?

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O-Lordy – caught on the hop(s) in the Welsh Valleys

Last Thursday in Pontypridd, the early summer seemed to have revealed itself as a false start.  A chill mist hung over the peaks and dulled the valleys.  The sombre mood was enhanced when I got off the train at the wrong stop, forcing Nick Otley to come looking for me on a hillside industrial estate he’d never been to before.

When he finally found me and took me back to the other industrial estate back up near Pontypridd – the one where the Otley brewery is – my first impression was that Otley will soon need a bigger unit, if not to expand their brewing operations, then to get a bigger office for all the framed awards certificates.  If they carry on winning stuff at the rate they have since opening shop in 2005, they’ll run out of wall space this year.

I’m not the first beer writer to brew at Otley – not by any means.  I would have been higher up the list if I’d got my shit together when they first invited me to brew, but since then Melissa Cole, Adrian Tierney-Jones and Roger Protz have all been asked to come down and get their hands dirty – Glyn from the Rake, AKA @RabidBarFly, was here before any of us – his Motley Brew has become a regular addition to the range.

The trend of collaborative brewing is an exciting one, but I think, dear reader, you could be forgiven for getting more excited about, say, a collaborative brew between Thornbridge and Brooklyn, or Brew Dog and Mikkeller, than one between a thrilling new brewery and a beer writer whose only experience at brewing before has been a kit from Boots in 1981.

I’ve been asked to brew before – several times.  But on most of those occasions ‘brewing’ meant I dug out the mash tun and basically got in the way.  The notable exception would, of course, be Avery Brown Dredge – and my write up of that experience is long overdue – but Zak and Mark had much more to do with both the recipe design and the labour than I did.

Like our ABD experience, Otley ask writers to get stuck in.  Not just the symbolic digging out of the mash tun, but designing the recipe, choosing ingredients and really taking responsibility for how it’s going to turn out.  Go brew with Otley, and there’s nowhere to hide.

The pressure was on.  I’d previously talked to Nick about brewing a big old Imperial stout, because when he first asked me to come and brew – at the end of 2009 – I’d only ever brewed IPAs, and was – not bored exactly – but wanted to spread my brewing horizons.

Funnily enough, inspiration came when we were sitting in Brew Dog, about to brew our Imperious Stout, weeping with hangover.  (The Brew Dog bar in Aberdeen is great – but almost every beer is one you want to have at the end of the evening.  The End therefore goes on for hours.)  I was sitting there, feeling guilty at not having contributed more to ABD, thinking, what will I do at Otley?  And Martin Dickie, Brewing Boy Genius, handed me a nice cup of life-saving tea and popped a packet of ginger biscuits on the table. I looked at the packet of ginger biscuits.  The packet of ginger biscuits looked at me.

And I thought, Imperial stout brewed with ginger, maybe a bot of chocolate, aged in whisky or rum casks.

Otley have so far resisted the cask ageing trend.  This was to be their first attempt.  The easiest casks to get were Welsh Penderyn whisky casks – and they weren’t easy to get.  So that’s what we’re ageing the beer in.  It’ll be ready late Autumn.

A man with a camera came, which I hadn’t expected.  I didn’t have my entourage, make-up or anything.  But, I reasoned, I never have an entourage or make-up, so it makes no difference.  So I hastily improvised a quick description of what and how we were brewing.  I insist all errors in describing the brewing process are down to necessary editing, but I think Wales Online did a really nice job here.  They turned up just after we’d finished mashing in, so I’m covered in malt flour.  I’m also pitifully knackered.  But it’s come out OK.  

After we finished brewing, I had several pints of ATJ’s excellent Saison Obscura down at the Bunch of Grapes, and even though I was falling asleep from mid-afternoon onwards, the beer somehow galvanised me into giving a competent account of myself during the evening’s entertainments, when I matched various beers with each of my three books for an audience bussed into the brewery.  The smell of chocolate filled the air by the time they arrived.  I think they enjoyed the multi-sensory beer experience.