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06-07-2017, 13:07
Visit The Pub Curmudgeon site (http://pubcurmudgeon.blogspot.com/2017/07/beer-from-somewhere-or-from-anywhere.html)
https://2.bp.blogspot.com/-6c7rEZOZiDI/WV40NVt_z2I/AAAAAAAAFwk/cmGSMDenyTkvitTug_OCN-lleV6z5GRAACLcBGAs/s200/awesome-craft-beer.png (https://2.bp.blogspot.com/-6c7rEZOZiDI/WV40NVt_z2I/AAAAAAAAFwk/cmGSMDenyTkvitTug_OCN-lleV6z5GRAACLcBGAs/s1600/awesome-craft-beer.png)
People often draw a connection between the modern craft beer movement and the birth of CAMRA forty-odd years ago – championing small producers against big, bullying corporations and promoting choice, quality, innovation and diversity. However, I would argue that the two arise from very different roots, and that the apparent similarities are a lot less than is often supposed.
The 1960s were a period of dramatic change, where progress and modernity were the watchwords, and anyone who sought to stand in the way was condemned as negative and fuddy-duddy. It was the era of the New Britain that was to be forged in the white heat of the scientific revolution, and this spirit was keenly embraced by both of the major political parties.
However, as the 60s turned into the 70s, the downsides in terms of the destruction of the traditional and familiar became increasingly apparent, and there was a backlash in popular sentiment. E. F. Schumacher’s bestselling book Small is Beautiful is often seen as epitomising this trend, and it gained wide public recognition in the TV sitcom The Good Life. This was also reflected in greater concern for environmental issues, more interest in preserving old buildings rather than sweeping them away, the rise of railway preservation, and of course the real ale movement spearheaded by CAMRA. This movement had the virtue of spanning the political spectrum, by appealing both to left-wingers wanting to fight big corporations, and conservatives nostalgic for vanishing traditions.
But, at the time, CAMRA was entirely seen as trying to support something that was in danger of dying out. Real ale was something produced by small, stick-in-the-mud family breweries that had escaped the takeover frenzy, or by neglected backwaters of the Big Six, and sold in unmodernised locals to a predominantly middle-aged and elderly customer base. At this time, microbreweries scarcely figured on the agenda, and there was no product innovation, merely an attempt to keep what we already had.
Of course, as we know, this touched a wider chord, and the big brewers started reintroducing real ale to many pubs, and introducing new brands such as Ind Coope Burton Ale to meet the demand. But this wasn’t something groundbreaking – it was merely a recreation of an old recipe. It could be argued that there wasn’t really any innovation in the cask sector until the appearance of golden ales in the late 1980s.
Likewise, microbreweries didn’t really appear on the scene in any significant numbers until well after the birth of CAMRA, and when they did they were generally just brewing beers in the established styles. The appeal was that they were small-scale and local, not that they were any different. If there was any innovation, it was in reviving old styles such as cask stout and porter. And the first wave of beer exhibition pubs were just showcasing a variety of brews from around the country that hadn’t previously been available locally.
In its early days, CAMRA was basically about enjoying and championing something that already existed. The self-referential aspect (http://pubcurmudgeon.blogspot.co.uk/2010/09/self-awareness.html) of beer enthusiasm, whereby beers were brewed and pubs opened specifically to please aficionados rather than the general drinking public, was some way in the future. The multi-beer free house was a fairly early development, but in terms of beer styles I’d say it didn’t really happen until the “pale’n’hoppy” movement of the 1990s. Even golden ales were an attempt to produce a cask beer for mainstream drinkers with some of the appeal of lager.
In the USA, the rise of large corporate breweries had pretty much entirely wiped out the independent breweries, and also most stylistic variety, so the beer revival had to start from a much lower base. Prohibition had been a major contributory factor, of course – surely something similar in the UK would have seen the end of the likes of Hook Norton and Bateman’s. While it took a lot of inspiration from CAMRA, at least in its early days, I’m sure something similar would have happened in the USA anyway.
But, without any established framework of traditional styles, American brewers were much freer to experiment, with the result that there was incredible outpouring of stylistic variety. There also wasn’t the aspect of defending tradition that was a key element in this country. Eventually, of course, they came up with their own defining national style – the heavily-hopped American-style IPA. Over time “microbrewing” metamorphosed into “craft beer”, and then made it back over the Atlantic to inspire the current British craft beer movement.
Significantly, a major theme of this was kicking against not the giant international brewers, but Britain’s established real ale culture. It is very well summed up by Bailey of Boak & Bailey here (http://boakandbailey.com/2017/06/the-craft-beer-life-on-a-budget/#comment-74731):
“In the UK, used to describe a ‘movement’ arising from c.1997 onwards which rejected not only ‘mass-produced’ beer but also the trappings of established ‘real ale’ culture. Brewers aligned with this ‘movement’ will probably produce kegged beers, and may even dismiss cask-conditioned beer altogether. As much about presentation, packing and ‘lifestyle’ as the qualities of the product.”And this is something that is very different from what is generally understood as “real ale culture”. It is heavily focused on innovation and pushing the boundaries of style, taste and strength. It broadly rejects the traditional and established. It is overwhelemingly urban - the archetypal craft brewery is in a railway arch, its real ale counterpart in a small market town or in farm outbuildings. It celebrates technological innovation such as kegging and canning. It is avowedly internationalist and, while it may sometimes claim “green” credentials, it rejects a locally-focused, “back to the land” approach in favour of sourcing ingredients, especially hops, from all round the world, not to mention inspiration.
As you will have gathered from reading this blog, this kind of thing doesn’t strike a chord with me at all. I’m not against it, and indeed have enjoyed many beers produced under the craft umbrella, but, as I argued here (http://pubcurmudgeon.blogspot.co.uk/2016/05/a-taste-of-tradition.html), there’s a big difference between what you like as a consumer and what you pursue as a leisure interest. There’s obviously a big area of overlap, as after all both are broadly about “quality beer”, but the wellsprings of sentiment from which real ale and craft grow are essentially different things. One is, at heart, about tradition and roots, the other about modernity and innovation. It’s basically the Somewhere versus Anywhere (http://www.newstatesman.com/politics/uk/2017/03/anywheres-vs-somewheres-split-made-brexit-inevitable) division expressed in beer.
It’s very difficult to put your finger on the modern “craft” movement, and I certainly make no pretence to being a general social commentator. I blog about what I like, value and understand. But Boak & Bailey tried to grasp it in this post about The craftification of everything (http://boakandbailey.com/2017/06/not-just-beer-craftication-everything/). It’s a complete departure from the established concept of “premium” products as an expression of good taste and status, and is more a case of trying to express your personality and values through your choice of consumer goods. If you choose a craft beer, it says something about you, or you hope it does.
More... (http://pubcurmudgeon.blogspot.com/2017/07/beer-from-somewhere-or-from-anywhere.html)
https://2.bp.blogspot.com/-6c7rEZOZiDI/WV40NVt_z2I/AAAAAAAAFwk/cmGSMDenyTkvitTug_OCN-lleV6z5GRAACLcBGAs/s200/awesome-craft-beer.png (https://2.bp.blogspot.com/-6c7rEZOZiDI/WV40NVt_z2I/AAAAAAAAFwk/cmGSMDenyTkvitTug_OCN-lleV6z5GRAACLcBGAs/s1600/awesome-craft-beer.png)
People often draw a connection between the modern craft beer movement and the birth of CAMRA forty-odd years ago – championing small producers against big, bullying corporations and promoting choice, quality, innovation and diversity. However, I would argue that the two arise from very different roots, and that the apparent similarities are a lot less than is often supposed.
The 1960s were a period of dramatic change, where progress and modernity were the watchwords, and anyone who sought to stand in the way was condemned as negative and fuddy-duddy. It was the era of the New Britain that was to be forged in the white heat of the scientific revolution, and this spirit was keenly embraced by both of the major political parties.
However, as the 60s turned into the 70s, the downsides in terms of the destruction of the traditional and familiar became increasingly apparent, and there was a backlash in popular sentiment. E. F. Schumacher’s bestselling book Small is Beautiful is often seen as epitomising this trend, and it gained wide public recognition in the TV sitcom The Good Life. This was also reflected in greater concern for environmental issues, more interest in preserving old buildings rather than sweeping them away, the rise of railway preservation, and of course the real ale movement spearheaded by CAMRA. This movement had the virtue of spanning the political spectrum, by appealing both to left-wingers wanting to fight big corporations, and conservatives nostalgic for vanishing traditions.
But, at the time, CAMRA was entirely seen as trying to support something that was in danger of dying out. Real ale was something produced by small, stick-in-the-mud family breweries that had escaped the takeover frenzy, or by neglected backwaters of the Big Six, and sold in unmodernised locals to a predominantly middle-aged and elderly customer base. At this time, microbreweries scarcely figured on the agenda, and there was no product innovation, merely an attempt to keep what we already had.
Of course, as we know, this touched a wider chord, and the big brewers started reintroducing real ale to many pubs, and introducing new brands such as Ind Coope Burton Ale to meet the demand. But this wasn’t something groundbreaking – it was merely a recreation of an old recipe. It could be argued that there wasn’t really any innovation in the cask sector until the appearance of golden ales in the late 1980s.
Likewise, microbreweries didn’t really appear on the scene in any significant numbers until well after the birth of CAMRA, and when they did they were generally just brewing beers in the established styles. The appeal was that they were small-scale and local, not that they were any different. If there was any innovation, it was in reviving old styles such as cask stout and porter. And the first wave of beer exhibition pubs were just showcasing a variety of brews from around the country that hadn’t previously been available locally.
In its early days, CAMRA was basically about enjoying and championing something that already existed. The self-referential aspect (http://pubcurmudgeon.blogspot.co.uk/2010/09/self-awareness.html) of beer enthusiasm, whereby beers were brewed and pubs opened specifically to please aficionados rather than the general drinking public, was some way in the future. The multi-beer free house was a fairly early development, but in terms of beer styles I’d say it didn’t really happen until the “pale’n’hoppy” movement of the 1990s. Even golden ales were an attempt to produce a cask beer for mainstream drinkers with some of the appeal of lager.
In the USA, the rise of large corporate breweries had pretty much entirely wiped out the independent breweries, and also most stylistic variety, so the beer revival had to start from a much lower base. Prohibition had been a major contributory factor, of course – surely something similar in the UK would have seen the end of the likes of Hook Norton and Bateman’s. While it took a lot of inspiration from CAMRA, at least in its early days, I’m sure something similar would have happened in the USA anyway.
But, without any established framework of traditional styles, American brewers were much freer to experiment, with the result that there was incredible outpouring of stylistic variety. There also wasn’t the aspect of defending tradition that was a key element in this country. Eventually, of course, they came up with their own defining national style – the heavily-hopped American-style IPA. Over time “microbrewing” metamorphosed into “craft beer”, and then made it back over the Atlantic to inspire the current British craft beer movement.
Significantly, a major theme of this was kicking against not the giant international brewers, but Britain’s established real ale culture. It is very well summed up by Bailey of Boak & Bailey here (http://boakandbailey.com/2017/06/the-craft-beer-life-on-a-budget/#comment-74731):
“In the UK, used to describe a ‘movement’ arising from c.1997 onwards which rejected not only ‘mass-produced’ beer but also the trappings of established ‘real ale’ culture. Brewers aligned with this ‘movement’ will probably produce kegged beers, and may even dismiss cask-conditioned beer altogether. As much about presentation, packing and ‘lifestyle’ as the qualities of the product.”And this is something that is very different from what is generally understood as “real ale culture”. It is heavily focused on innovation and pushing the boundaries of style, taste and strength. It broadly rejects the traditional and established. It is overwhelemingly urban - the archetypal craft brewery is in a railway arch, its real ale counterpart in a small market town or in farm outbuildings. It celebrates technological innovation such as kegging and canning. It is avowedly internationalist and, while it may sometimes claim “green” credentials, it rejects a locally-focused, “back to the land” approach in favour of sourcing ingredients, especially hops, from all round the world, not to mention inspiration.
As you will have gathered from reading this blog, this kind of thing doesn’t strike a chord with me at all. I’m not against it, and indeed have enjoyed many beers produced under the craft umbrella, but, as I argued here (http://pubcurmudgeon.blogspot.co.uk/2016/05/a-taste-of-tradition.html), there’s a big difference between what you like as a consumer and what you pursue as a leisure interest. There’s obviously a big area of overlap, as after all both are broadly about “quality beer”, but the wellsprings of sentiment from which real ale and craft grow are essentially different things. One is, at heart, about tradition and roots, the other about modernity and innovation. It’s basically the Somewhere versus Anywhere (http://www.newstatesman.com/politics/uk/2017/03/anywheres-vs-somewheres-split-made-brexit-inevitable) division expressed in beer.
It’s very difficult to put your finger on the modern “craft” movement, and I certainly make no pretence to being a general social commentator. I blog about what I like, value and understand. But Boak & Bailey tried to grasp it in this post about The craftification of everything (http://boakandbailey.com/2017/06/not-just-beer-craftication-everything/). It’s a complete departure from the established concept of “premium” products as an expression of good taste and status, and is more a case of trying to express your personality and values through your choice of consumer goods. If you choose a craft beer, it says something about you, or you hope it does.
More... (http://pubcurmudgeon.blogspot.com/2017/07/beer-from-somewhere-or-from-anywhere.html)