When we’re writing anything substantial we often find it useful to put together a soundtrack. Here’s the one we made for our new book, 20th Century Pub, which is due back from the printers anytime.… now.
It’s a funny old bunch of songs, some chosen because we like them, others because they evoke a mood or period. We could easily have included 50 songs from the 1920s to the 1940s that we listened to endlessly while working on the earlier portions of the book.
Another blow is the case of Bristol’s The Stag and Hounds—a metal/rock pub focused on the promotion of local and DIY shows—which will be closing next month. Announcing the news on their website, the team explained that ‘through a series of events and circumstances (some out of our control) we have looked at the books and it’s not viable for us to carry on to see the contract out.’ This kind of statement is becoming a broken record when it comes to fans of metal pubs—their presence tumbling thanks to various issues like tax hikes, the persistent demand for luxury flats and the feeling that they simply don’t feel hugely relevant or crucial anymore when metal can often feel more like a genre you pass through, rather than one you commit to.
(This is actually from a couple of weeks ago but we only noticed it the other day.)
Emma at Crema’s Beer Odyssey has shared a long, detailed post on the science of hops, based on research for a talk to a South London home brewing club. It is technical without being remote and typically forthright, acting (perhaps incidentally) as a rebuke to us and others who have failed to get on board the drink fresh train:
There are always people who say, ‘oh but I prefer my IPA with some age on it’ or similar. If you look around online it’s quite easy to find evidence of people drinking IPA or DIPA when it’s months or even years old and insisting it’s still great. It’s nice that they enjoy old beer but that’s not what the brewer intended. Of course, depending on the size of the brewery, there are steps which can be taken to give their beer as long a shelf life as possible (filtering and cold chain distribution, for example). For smaller breweries there is a much simpler option: advise your customers to drink fresh by applying a short best before date to your hop-forward beers, e.g. three or four months.
This is the sixth in an occasional series of guest posts by etiquette expert R.M. Banks.
Not all public houses are enhanced by the addition of a jukebox. Some do quite well with the gentle avant-garde percussion provided by a burning log or two in the grate; others lack the acoustic qualities so that the addition of recorded music brings to mind someone falling downstairs while carrying a tin bath full of squeaky dog toys.
On the whole, though, I am personally all for them. Oh, yes, you can count me as a fee-paying member of the Juke Box Appreciation Society. I am always happy to kick in a quid for the pleasure of hearing five of the gramophone industry’s finest efforts, or two quid the dozen for that matter. A well husbanded juke-box, stuffed to the coin-slots with the right stuff, brings joie de vivre where once glum silence lay heavy as suet pudding; it lifts as it brightens as it shines!
Of course there are pitfalls.
First, there is the matter of good taste. If you were to flip through my record cabinet you would likely scoff, perhaps mock, or even come to look up on the very basis of our friendship with jaundiced eye. And the reverse would likely be true. Consider, then, a public bar containing, let us say, 30 people – what are the chances that all will be equally enthused upon hearing, to pick an example quite at random, the surging of the Hammond organ at the commencement of ‘Stop in the Name of Love’? Up to a point, this cannot be helped: a jukebox containing only songs that no one dislikes would be like a hospital meal of steamed fish and boiled potatoes. The soundest advice is to avoid the deep end of the pool – songs containing full-throated Scandinavian metal screaming, dischord intended to evoke mans inhumanity to man, treated piano, laxative basslines, children’s choirs, and so on. Jukebox songs ought to elicit a tapping of the foot, perhaps a gay whistle, but oughtn’t interfere with the conversation.