Drinkers’ Voice as a matter of policy does not accept any industry funding, to ensure both the reality and the perception of independence. It speaks for the consumers of alcoholic drinks, not the producers. What it does have is a certain amount of involvement from CAMRA, which has led some to conclude that it is effectively a CAMRA front organisation… In recent years, there have been several motions passed at CAMRA AGMs urging the organisation to take a stronger line against the anti-drink lobby. However, CAMRA by definition does not represent all drinkers, and can all too easily be accused of glossing over the negative effects of alcohol in seeking to promote beer and pubs. There also remains a somewhat delusional tendency within its ranks who believe that the type of drinking that CAMRA supports can in some way be presented as less harmful. So the decision was taken that the objective could be better achieving by helping with the creation of an independent campaigning body.
We’ll keep pondering this and perhaps put our heads above the battlements with an actual blog post on the subject. Or (checks comments from last time we got involved in this kind of debate) maybe not.
As breweries shut down or moved their production outside of Brussels from the 1960s on, most of their buildings were torn down to make room for an expanding Brussels. The few that survived this destruction were converted into art galleries, performance spaces, or hotels… These are the neighbourhoods – in Anderlecht and Molenbeek – that comprised “le petit Manchester belge”. Keep going past streets with names like Birmingham, Liverpool, Industry. Past the faded signs on crumbling brick buildings advertising “Ford” and “Coke”. Past the old Moulart maltings complex that has been renovated as an interactive centre and a business incubator. And there, just along from the wrought iron rail bridge, is the art deco brewing tower of Grandes Brasseries Atlas.
The post is accompanied by lots of lovely photographs just one of which is reproduced above.
Pubs built in the period after World War II have, on the whole, had short, rather sad lives, but there are two still trading (for now) at Elephant and Castle in South London. What can they tell us about the fate of the post-war urban booze bunker?
Elephant (as we’ll call it from here on) was a furious cauldron of development in the 1960s. What remained of the old district after the Blitz was levelled and a new traffic hub for south London was created. Office blocks were built to house government staff, like the Ministry of Health building, Alexander Fleming House, designed by the famous Hungarian-British architect Ernő Goldfinger. Most importantly an enormous modern shopping centre was built, ‘a giant new type of building, a fully enclosed American style mall over three levels surmounted by an office block’.
It was amid all this excitement that Watney’s and Truman’s breweries built flagship pubs there, the Charlie Chaplin and Elephant & Castle respectively. In August, we decided to visit both.
In the image above from Watney Mann’s Red Barrel magazine for June 1965 the site of the Charlie Chaplin, on the central island and appended to the shopping centre itself, is marked with an orange arrow. This is how it looked on launch:
A major feature of the house… is a wrought-iron mural of Charlie Chaplin. Designed by G. Dereford of Marlow Mosaics and made from metal springs to epitomise the spirit of the film Modern Times, the sculpture runs the full height of the first and ground floors… The Charlie Chaplin was designed by Erdi & Rabson, built by Sinclair & Son (London) Ltd and is let to the Westminster Wine Co whose manager will be Mr H.W. Moles.
It seems reasonable to conclude that Watney’s aspired for it to be an upmarket pub for shoppers, cinemagoers and office workers rather than as an ‘estate pub’. But the shops and shoppers never came to Elephant — it was a famous failure in commercial terms — and when a huge housing estate, Heygate, opened right next door in the early 1970s, the Charlie Chaplin seems to have ended up serving it by default.
In 2017, with the threat of closure and demolition hanging over the ‘mall’, as it has been for several years, and in the aftermath of a stabbing incident, the Charlie Chaplin feels a bit bleak. At some point it contracted to a single large room on the ground floor and received a half-hearted faux-Victorian makeover, leaving it neither thrillingly modern nor genuinely cosy. Given the tendency to connect the fate of pubs with that of the white working class it was interesting to see that the regulars were roughly fifty-fifty black and white, mostly solo drinkers, and entirely male. At one point a young woman in office clothes came in and took a seat by the window. As she talked on her mobile phone the woman behind the bar came over and asked her brusquely if she intended to buy a drink or not. The young women told the person on the phone, pointedly, that they should meet in a different pub instead, and left. We weren’t made to feel unwelcome in any overt, specific way but it did feel as if we’d intruded upon a private party, or perhaps a wake. It was literally and spiritually gloomy.
[The designer] must have had shares in a mirror company, as soon as you walked in the door there were mirrors everywhere, on the walls, toilet doors, behind the bar, and also some on the ceiling. The only place there weren’t any mirrors was on the floor. No matter where you stood in the pub, as you raised your glass to your mouth, your reflection was everywhere you looked. I must say I didn’t like this pub; it was too open for me and felt cold.
These days, after becoming very rough and eventually escaping conversion into an estate agents, it is run by London pub company Antic, AKA ‘hipster Wetherspoons’. They have given it a retro brutalist makeover, all functional mid-century furniture and exposed structural concrete, which is somewhat in keeping with the period in which it was built, and interesting to gawp at, but also completely inauthentic. It too felt oddly gloomy — that’s bunkers for you, we guess. Although the wide range of cask and keg beer on offer looked enticing the former was in lacklustre condition and expensive, too. (We preferred the Guinness at the Charlie Chaplin.) The pub was at least buzzing, though, and if we felt out of place it was only because we had at least a decade in age on most of the clientele.
This post was edited to remove a reference to the subway system which was apparently closed recently. We used to use it a lot when we regularly commuted through Elephant and must have got temporally confused. Also, we had consumed beer.
Great beers can sometimes burn brightly before passing into memory. Young’s Ordinary Bitter, unlikely as it might sound, was one such beer – beloved by ale drinkers, legendary in its brilliance, until the light went out.
When we interviewed Michael Hardman, one of the founders of the Campaign for Real Ale, his eyes blazed as he talked about Young’s Ordinary. ‘It used to have an intense bitterness that was almost too much for some people,’ he said. A good beer tasting note will trigger a surge of desire and Mr Hardman’s brief comment, delivered with such passion, and as straightforward as the beer it described, did just that.
We can’t say he didn’t warn us, though, that in 2012 Young’s Ordinary had become a shadow of its 1970s self. Having worked for the brewery as a PR executive for 30 years Hardman watched with sadness as, first, the brand lost its great champion, the company’s eccentric chairman John Young, who died in 2006 and then as, in 2007, the historic Wandsworth facility ceased brewing and moved production to Charles Wells at Bedford.
For London ale drinkers this was a ravens departing the Tower moment, leaving London with a mere handful of breweries and only Fuller’s as an independent of any size. There were reassurances that extensive testing had been carried out to assure continuity and even rumours that the last batches of Wandsworth-brewed Ordinary were being blended with the new version to ease the transition. But Wells could point at specification sheets and test results all they liked: the beer changed and people who drank it regularly knew it.
Bedford-brewed Ordinary wasn’t terrible – we drank plenty and enjoyed it – but veteran drinkers would push it away, shaking their heads at its sheer… ordinariness. Wells & Youngs, as they were then known, could brew something like Young’s Ordinary but could not breathe into the essential spark of life.
At the same time, Young’s London pubs, for so long a kind of defensive line against modernity, were also sold off and became a separate company. They generally continued to serve Young’s branded beers, however, so that, superficially at least, not much changed beyond a general ‘smartening up’. On trips to London we would invariably end up in one or another, either out of convenience or nostalgia, and check in on Ordinary. This was a sad, fruitless habit until the summer of 2014 when, suddenly, the beer seemed to jolt out of its coma – paler, drier, and more vigorous than we’d ever known it. But we doubted ourselves – perhaps it was a one-off? Or wishful thinking?
But, no: since then, the beer seems to have got better every time we’ve encountered it. It knocked our socks off at the Prince Alfred in Maida Vale earlier this year and now, after making a point of trying it in multiple pubs in four corners of London, and also in Exeter and Bristol, we want to underline this point: the sickness has gone and Young’s Ordinary is once again A Great Beer.
On our most recent trip to London at the Flask in Hampstead — a gorgeous Victorian pub whose discreet partitions and ornate details will frankly make any beer taste a little more interesting — we drank luminous, comically foaming pints of it that are among the best beers we’ve enjoyed this year, full stop.
It isn’t one of those 2017 beers perfumed with pine, citrus, mango or green onion. There’s barely a flavour note to latch on to, in fact, beyond a suggestion of minerals and lemon peel. But it has the austere structural elegance of a Victorian railway terminus, with a snatch of tame funkiness for seasoning.
We’ve been telling people the good news, and now we’re telling you. After all, with Charles Wells selling up to Marston’s, this resurgence might not last.
A warm evening in late summer, the smell of weed on the air, and blackberry stains on the pathway to the pub door.
Ahead of us in the queue a middle-aged woman in sensible shoes and a sensible but bramble-bothered jumper, with black mud beneath her nails.
“Oh, hello — I wonder if you can help me… Do you, by any chance, have any beer dregs I might take away with me?”
She waves a large margarine tub hopefully.
“Waste beer. For the slugs. On my allotment.”
“For the slugs?”
“For the slug traps. Slugs love beer. Keeps ’em off my plants! They drown in it.”
The young woman behind the bar eyes the gardener with suspicion. How can she be sure this strange stranger won’t just guzzle down the slops straight from the plastic the minute she gets outside? Desperate people will do all sorts of weird things for a freebie. She decides on a delaying tactic, a test of commitment.
“I can’t give you any now because we’re in the middle of service but if you come back at closing time when we’re cleaning out the drip trays I might be able to help. Once I’ve asked my manager, obviously.”
“Closing time? Oh, no, I’m afraid I shall be in bed by then. You couldn’t…?”
She waves the tub seductively.
A shake of the head.
And so the slugs, or perhaps the gardener, went thirsty that night.
This beers we tasted for this taste-off post were paid for by Patreon subscribers and the topic was suggested via comments on a Patreon post by Aaron Stein and Andy M.
Cornershop beer seems to have evolved in the half decade since we last checked in, but has it got better?
There’s something appealing about the idea of discovering a hidden gem in the least pretentious of surroundings, standing on chipped floor tiles next to the permanently running dehumidifier near the tinned Bigos. Most people are too snobby, too xenophobic, too scared to tackle these mysterious labels, goes the inner dialogue, but me? I’m a brave adventurer. In fact, though, there’s hardly a beer geek in the country who hasn’t had the same thought and you’ll find any number of blogs reviewing this type of beer with a quick Google.
When we left London for Cornwall back in 2011 we had tried damn near every bottled Eastern European beer on sale in the cornershops of Walthamstow. Most were fine, some were foul, and Švyturys (Carlsberg) Ekstra Draught — an unpasteurised Dortmunder from Lithuania — was one of our go-to bottled lagers. Now, in Bristol, we once again have easy access to Eastern European cornershops with their dumplings, cured meats, quark, cherry-flavoured Jaffa Cakes and, yes, acres of exotic looking beer.
We dipped our toes back in the water with a return to Švyturys. Would it be as good as we remembered, or might our tastes have evolved? The good news is that, as a lager we can pick up on the way home from work for well under £2 a bottle, it’s still got it. Our memories were of a more bitter beer but it still has a remarkable clean, fresh quality that some ‘craft’ lagers swing at but miss.
Thus warmed up we returned to our closest shop and tried to work out some way to tackle the wall of beer. It stocks products from Russia, Lithuania, Latvia, Slovakia, Poland and Romania. (And possibly some others we missed.) It’s an intimidatingly huge range though the vast majority are variations on pale lager or strong pale lager, and most of them are things we tried years ago. Since we last looked Radler seems to have taken off out that way and there are now any number of fruit-flavoured refreshers on offer but, frankly, that’s not our bag, so we discounted those, too. What we were drawn to was the oddities in two categories: first, a new strain of takes on world beer styles (Belgian Wit, Munich Helles); and, secondly, a bunch of unpasteurised/unfiltered products presented as upmarket, ‘natural’ variants on the standard lagers.