I can’t help but notice how same-y the selection is everywhere; As though there had once been a list of approved Belgian beers that no one has updated since the mid 2000’s. Michael Jackson’s Great Beers of Belgium is that list, and looking at the selection in the dusty shop windows it feels like no one has come along with the gravitas to approve new additions to the canon; it is stuck in amber… Cafe Bebo helps to ease me into the contemporary. It even has beers from breweries founded this century. I order De La Senne Zinnebir and some cheese from the Orval Trappist monastery to snack on.
The artwork is a send-up of the two composite nations – Flanders and Wallonia – and their antagonism of eachother. It employs satire, humour and caricature to make an important point: please dump the baggage of the past and let’s move on… Unlike the easy-goingness of the beer, the label artwork is utterly loaded.
We can imagine this making for an interesting series, reverse engineering the branding process to work out what breweries want us to understand from the small choices they make in their graphic design.
If you tuned the radio to BBC Leeds at 18:45 on a Wednesday in 1985 you’d hear What’s Brewing, a programme dedicated to beer and pubs.
It was established during the height of real ale mania, in 1975, by a local journalist and CAMRA activist, Barrie Pepper, who worked in the newsroom at Radio Leeds and would go on to become a well-known beer writer. In a later retrospective in the CAMRA newspaper, also called What’s Brewing, for March 1985, he recalled its origins:
[The radio show] made its first appearance… after pressure from members of the Leeds branch of CAMRA. In that programme, though to be a one-off, Tom Fincham and I made the first of our ‘rural rides’ in search of good ale, we defined real ale and Eddie Lawler sang his now famous ‘We’re all here for the real thing’.
‘Famous’ might be overstating it but Eddie Lawler told us in an email that he has performed the song at the CAMRAAGM. He was kind enough to share the version he recorded under the title ‘CAMRAnthem’ for his 2007 album The Baildon Sky Rocket with 1970s references to ‘big-busted barmaids’ and the ‘nattering spouse’ removed. As you might guess, it’s a folky pub singalong with a piano backing:
We’re all here for the Real Thing.
That’s why we’re singing this song, just to show all those
Fancy TV promotions
That the customer’s not always wrong, so you’d better not
Give us pale imitations
Or gas us with chemical beer.
So just give us a pint of the Real Thing landlord
’Cos that’s why we’re bloody well here.
Off the back of that first programme the producer, David Campbell, commissioned a year’s-worth of monthly programmes. In his 1985 retrospective Barrie Pepper described the difficulty in finding topics for discussion and, in particular, the challenge of finding a Pub of the Month every month. (The first was The Greyhound at Saxton.)
There was also a ‘real ale soap opera’ called Tap Room Tales written by Gerry Garside from Bradford which was representative of the ribald, pantomime humour that characterised early CAMRA culture. There’s an extract from the first episode, broadcast in August 1977, in Barrie Pepper’s 1990 anthology of beer writing The Bedside Book of Beer:
Episode one – the Price of a Pint
The scene is the tap room of The Plastered Parrot, a real ale pub in a working suburb of a West Riding town. The time is half an hour before closing time on a weekday evening.
Let me introduce you to the cast.
Nora Nockers is an occasional barmaid; Yorkie Bale is a retired shoddy merchant, Shufflem Round is the pub domino captain and Barum Hall is the landlord. Charlie Chock, Gordon Spile, Andrew Mallet and Peter Barrel are members of the Campaign for Real Ale. Girlington Gertie is an aging ex-chorus girl and we present Lars Torders, a Swedish Steel worker.
In his 1985 retrospective Barrie admitted that Tap Room Tales ‘might have seemed a bit facile… but it had a serious purpose and was great fun to take part in’.
From 1980 What’s Brewing went weekly and Barrie took over as producer with Mike Greenwood hosting. There was homebrew advice from Bob Blagboro, profiles of Yorkshire breweries, and campaigns against pub closures. ‘[In] the case of the Spring Close Tavern in East Leeds we were able to secure the reprieve by Leeds City Council live on our microphone,’ Barrie recalled in 1985.
Though Barrie insisted the show was independent of CAMRA he was at various points on the Campaign’s National Executive and it certainly seems to have given the local branch what amounted to a mouthpiece funded by the licence payer.
The last episode was broadcast in June 1986 for reasons Barrie explained in an email:
I moved on from the news room at BBC Radio Leeds to become Head of Press and Public Relations with Leeds City council. Ray Beaty, the station manager, wasn’t keen on a non-staffer producing – he didn’t mind a freelance (unpaid) presenter but worried about someone ‘speaking out of turn’ as he called it. In any case I couldn’t find anyone to do the job and the council wouldn’t allow me to do it.
So, that was that.
Thirty-odd years on, though BBC radio only touches on beer occasionally, in the current podcast boom there’s no shortage of beer-related audio. For example, we recently listened to Fermentation Radio for the first time and thoroughly enjoyed it. We’ll send Barrie Pepper the link.
This is another in our series of posts sharing photographs and details about post-war pubs from mouldering magazines. This time, it’s John Smith’s of Tadcaster and the magazine is The Magnet.
We’ve only got three editions – we’d love more – but they’re packed with good stuff if, that is, your definition of good stuff is profiles of plain-looking modern pubs on housing estates in places like Sheffield and Doncaster.
The Flarepath, Dunsville, South Yorkshire
The headline for this piece in The Magnet is A ROYALAIRFORCEPUB – The Flarepath, which opened in November 1967, served RAF Lindholme, near Doncaster.
The name refers to an illuminated runway used by bombers returning from night-raids over Germany during World War II. (Again, another wonderful name squarely of its time.)
The carpet in the lounge was specially woven and featured a Lancaster bomber taking off and the bars were decorated with RAF squadron crests. There were photographs of various types of bomb, again from the Imperial War Museum archive, on the walls.
Its first managers were Joyce Varley and her husband Arthur, late of the Magnet Hotel, Bentley.
Is it still there? Yes, with John Smith’s signage outside, too.
We’ve just acquired a couple of editions of Tetley’s in-house magazine from the 1960s and thought we’d share some pictures of the then state-of-the-art modern pubs featured.
We usually scan these things and effectively thrown them away on Twitter but thought that we ought to put them somewhere a bit more permanent in case they’re interesting or useful for other researchers, or just for the enjoyment of people who might recall the pubs in question as they were in their heyday.
The first batch of photos are from The Huntsman for Autumn 1964. This picture is on the front cover:
Explanatory text inside says: ‘The Cup & Ring, the new opened Tetley house on the edge of the moors by Baildon. It is almost certainly the only public house in the country with this name – taken from the cup and ring markings carved by Early Bronze Age people on certain stones of Baildon Moor.’ Today the pub is – obviously, of course, it goes without saying – gone.
Next up is The Earl Francis at Park Hill in Sheffield of which the magazine says:
[The] third Tetley ‘pub’ in the vast comprehensive area of Corporation flats which will ultimately house 10,000 people, was named as a reminder of the local historical association with the Shrewsbury family… The first two of these three Tetley houses were each an integral part of the ground floor of the block of flats in which they were situated. The Earl Francis differs in that it is a separate building. To ensure harmony with its background of flats the shell was built by the Corporation; but the main entrance and canopy, the internal planning and structure, and all fixtures and fittings were dealt with by The Company.