I think we can define ‘craft’ relatively loosely and ‘important’ in a similar way to our US colleagues: It’s one that either changed consumer tastes or how breweries approach making beer. There are a few obvious ones: Punk IPA by Brewdog, Jaipur by Thornbridge, ESB by Fullers.
There’s a survey you can respond to including space to make your own suggestions but here’s some food for thought from us.
Arguably the very first ‘microbrewery’ was Traquair House which commenced production in 1965. It demonstrated that it was possible for small breweries to be opened despite prevailing industry trends, and also that small independent breweries could often do more interesting things than their bitter- and lager-focused Big Six peers — this beer was (and is) at a hefty ABV and very rich.
2. Litchborough Bitter (1974)
Another brewery with a strong claim to being the first microbrewery was Bill Urquhart’s Litchborough based in the village of that name near Northampton. The beer itself doesn’t seem to have been especially exciting but the business model, and Mr Urquhart’s mentoring/consultancy, directly inspired the microbrewery boom that followed.
Like 80 per cent of those who write about beer in anything like a professional capacity, we’ve been commissioned to write a substantial piece about Michael ‘The Beer Hunter’ Jackson as the tenth anniversary of his death approaches.
As part of that, we’ve been exchanging emails with Alan ‘A Good Beer Blog’ McLeod who is a noted Jackson sceptic. He habitually questions whether Mr Jackson’s influence was as great as the consensus would have it, and whether other influential writers (Richard Boston, Dave Line) aren’t being short-changed by Jackson’s elevation.
One specific question he put to us was this: what exactly was Jackson writing between the World Guide to Beer in 1977 and the next item on his Wikipedia bibliography, a 1986 pocket guide to beer? How could he be so influential with one book every ten years?
One answer is that that really is only a selected bibliography — we have a copy, for example, of the 1982 Pocket Guide to Beer, which is the one veteran brewers we have spoken to carried with them as they explored Europe and the US in the 1980s, and there were paperback reprints/revisions of the World Guide too.
But, as is often the case, Alan’s niggling has highlighted a real issue: the lack of a comprehensive list of Michael Jackson’s writing for magazines and newspapers which, of course, is ephemeral by nature.
For the sake of the collective brain, and also because it’s useful for our article, we agreed to make a start on a list of material published in the UK. We’ve started with the monthly column he wrote for CAMRA, a filleting of which is reproduced below with notes on the content of each article.
If you see anything there that might help with your research drop us an email (firstname.lastname@example.org) and we’ll be happy to provide more information.
The harder job, now, is tracking down the material he wrote for the national press in the same period. We have searched The Times and Guardian archives but if you have clippings, or perhaps have access to the Sunday Times archive online through your local library service, we’d welcome any tips.
From 1980 to 1982 one of London Weekend Television’s top-rated sitcoms was Holding the Fort in which Peter Davison played a microbrewer. We spoke to the writers, Laurence Marks and Maurice Gran, to find out more.
We were first tipped off to the existence of Holding the Fort by a comment from ‘Dvorak’ on something we posted back in September. We watched as much as we could find on YouTube and were amazed by how accurately it portrayed the then embryonic British microbrewing scene. On the off-chance, we emailed Marks & Gran via their website just as the success of their revival of Goodnight Sweetheart hit them and they became very busy. We heard nothing until this week when we got an apologetic reply and an invitation to phone them at their office.
Because the way the timing worked out Bailey made the call, speaking to Laurence Marks while Maurice Gran made muffled interjections somewhere in the background. We’ve slightly edited the transcript for clarity and to remove some umm-ing and er-ing.
From what we’ve been able to see Holding the Fort is a pretty accurate portrayal of what was going on in British brewing at the time.
Microbrewing had just started and we had met the man… What was his name? This was 40 years ago, our very first commissioned sitcom, so it’s hard to remember. He was the man who started a chain of pubs… What were they called?
David Bruce — the Firkin chain?
That’s him! He was always our adviser on brewing and, in fact, he provided all the brewing equipment for the production which was in the basement of our fictional brewer’s house in Tufnell Park, North London.
Our central character, our male central character, who we join in the first episode, is a brewer. The brewery where he works is closing and moving to the North. He and his wife, played by Patricia Hodge, have just had a little baby and they don’t want to move North, so she goes back to her old job as an Army Captain and he decides he can run a small brewery from his house.
And his assistant, played by Matthew Kelly, he’s a kind of stereotypical real ale drinker with the beard and so on.
No, Fitz, he’s not a brewer — he’s just kind of a layabout, but he starts to learn to brew. Peter Davison, who’s the brewer, is very clean cut. David Bruce always looked alright to me! Very smart.
Peter Davison was in Doctor Who at the same time you were making this series — is that right?
Well, yes and no. We made the first series in 1980 then he got cast as Doctor Who between series, so he was alternating between our series at LWT and Doctor Who at the BBC.
It’s odd that you’re so well-known but that this show is so obscure — we’d never heard of it and it’s quite hard to get to see. But there were three series so it must have been popular.
Oh, yes — hugely successful. It was, at one time, LWT’s top-rated comedy show. I have no idea why it’s out of circulation — I don’t understand the machinations of TV networks.
Were you into beer yourselves? Were you CAMRA members or anything like that?
I was a journalist at the time, in the mid-1970s, and was invited along to the first CAMRA beer festival at Covent Garden in 1975. I went along to what is now the London Transport Museum and there was every beer in the entire country, barrels everywhere. People were walking around vomiting, falling over… It was the closest we’d come to the Munich Oktoberfest, I suppose.
I was with a friend who was a much more learned beer drinker than me, and we worked our way round deciding which was the best beer there. We both agreed it was Hook Norton. In fact, we loved it so much, we found out where the brewery was, took a day off work and drove out there. There were three pubs near the brewery, supplied directly, and we drank in all of them. And funnily enough, it’s now my local brewer.
* * *
Marks & Gran are still writing together. You can read more about their long career at their website, Marks & Gran, and they are also on Twitter @marksandgran.
Saucy beer names — Dirty Tackle, Piddle Slasher, Old Slapper — are a bit of fun to some, off-putting to others, and either way are another battleground for debates over ‘political correctness’, censorship, good taste and sexism.
We’ve been keeping notes for years, now, trying to work out how they came to be so common in British brewing in particular.
(Though America also has them (Old Leghumper) as does Belgium (Mad Bitch) and they also seem to crop up elsewhere on occasion.)
To have saucy beer names, you need to have beer names — that is, other than in this format:
@broadfordbrewer Say your name is Bob Shaw. You brew: Bob Shaw's Mild Bob Shaw's Bitter Bob Shaw's IPA Bob Shaw's Stout Original eh?
The 1966 Brewery Manual contains a reference list of trademarked brand names. It’s not comprehensive, Ron Pattinson tells us, but it’s still a good starting point: of the 650 or so provided none are outright filthy and only about ten provide anything for a bar-room wag to get a snigger out of with enough mugging and winking, e.g. Big Horn, Cock o’ the North, ‘I’ll take a Mild Maid please!’ (And it had apparently not even occurred to anyone that there was fun to be had with ‘Blonde’ — no beers are listed.)
For a long time, Britain had beers associated with Christmas that weren’t explicitly billed as Christmas beers.
If Frank Baillie’s 1973 Beer Drinker’s Companion is anything to go by, there were certainly winter ales released in November or December in time for Christmas, but they didn’t feature Father Christmas on the pump clips or labels; they weren’t called things like Rudolf’s Throbbing Conk; and they weren’t dosed with cinnamon and nutmeg. As far as we can see, Shepherd Neame’s bottled Christmas Ale was the only one with Christmas is in its name at that time.*
Based on looking through old copies of the Campaign for Real Ale’s Good Beer Guide (thanks again, Ed!) it looks as if the idea of marketing ‘winter warmers’ as Christmas beers really took off in the increasingly competitive real ale scene of the 1980s. The 1987 GBG (published in 1986) lists around ten beers that we would classify as definitely Christmas seasonals, such as Mauldon Christmas Reserve, Wood’s Christmas Cracker and the Bridgewater Arms’s Old Santa.