Category: England

The Value And Adulteration Of Porter Circa 1757

I found this passage below in The General Evening Post of London, England of December 1, 1757. It’s a very useful passage because it reminds us of many things which are quite alive in the brewing trade of today.

Notice how the concern is framed from the position of the public. The natural tension is with the interests of brewers and the solution is the need for regulation. Brewers are “men of large capital” who use “other ingredients” – the fact of which is “notorious from the conviction of some brewers.” Brewers are also avaricious:

… a combination is forming amongst them to raise the price of beer…

This is an “additional tax which the brewers want to saddle on” the public. Sounds like something out of early CAMRA pamphets from the 1970s, doesn’t it?

Boak and Bailey have somewhat restated the question in terms of the craft era in their post today about “Experiences vs. Commodities” – a form of question which has been bounced around for at least as long as the terms “beer blogging” and “craft” gained popular attention in around 2006. Around 2008, we were introduced to the idea of single cask short run beers which promised in themselves to be an experience conveyed via 750 ml corked bottles for the mere price of merely $24.99. One Colorado comment maker* of the time indicated that the trend really started with La Folie by New Belgium.

Unlike Probus in the 1750s, the point of view of writers has not been clear cut. The responses in the comments to this post in from October 2007** are instructive and in some cases a bit startling. But that was when it was still quite fair – or at least somewhat credible – to say that craft was still a lot like little Bambi struggling on its wobbly legs, trying to make sense of the great big bad world. Too soon to speak of value. Now things are different. Craft has shattered into at least three general forms of market presence – local, big craft and international macro – none of which are in any real risk of going away even if players come and go.

Because of this, I would suggest that we need to heed Probus’s words published a quarter millennium ago and leave the views of ten years ago behind. Craft has become commodity and it’s going to be OK. It’s a commodity in the standardization of international styles such as IPA and murk as well as in single brands like Goose Island. You can find pretty much the same beer everywhere. And if you can’t you are still seeing the internationalization of the fib of “craft” pretty much everywhere. We cling on to outdated ideas about craft and the value of any beer at our peril. We miss the actual in favour of the hype. We chase the marketed (whether from the PR consultants or the semi-pro enthusiasts) in favour of the quieter, local and lovely. The experience? Yes, it is still about the experience but that includes learning from our experience.

[By the way, not sure who Probus was. Apparently, Thomas Chatterson used the pen name but he was born in 1752.]

*Scroll down.
**Again, scroll down.

How To Deal With Folk Like Elynour Rummyng?

So said John Aubrey in his book Perambulation of Surrey written between 1673 and 1692. When I came across reference to the book I was hoping it was going to be an economic survey similar to The Natural History of Staffordshire from 1686 by Robert Plot. But instead it was more of a gazetteer, a recitation of things which can be found in the churches and hints as to where the bridges used to be. However, as one must, I ran a few beery words through it and the passage above sprang out. The town in question is named Letherhead alias Ledered alias Lederide by Aubrey. It is still there under the spelling Leatherhead.

And near Leatherhead lived Elenor Rumming who sold her good ale. According to Aubrey in the late 1600s. But in John Skelton’s poem, “The Tunnyng of Elynour Rummyng“ which celebrates its 500th anniversary (very probably… well, maybe) this year its really not the goodness of the ale that is celebrated.

And this comely dame,
I vnderstande, her name
Is Elynour Rummynge,
At home in her wonnynge ;
And as men say
She dwelt in Sothray,
In a certayne stede
Bysyde Lederhede.
She is a tonnysh gyb ;
The deuyll and she be syb.

The devil and she be siblings. And fat – a tonnish gyb. Yet also a “comely gyll” or Jill… “this comely dame”… hmm. Armed with only my trusty half-an-honours BA in English Lit from over 30 years ago, I thought about this as many other had before me. The poem is beyond unflattering. It’s libelous. Unless, of course, it is true. But what is the truth five centuries later? How to deal with such a thing. How true is it? In The Pub in Literature: England’s Altered State by Steven Earnshaw published in 2000 he argues:

Whilst John Skelton’s “The Tunnyng of Elynour Rumming” draws on a traditional view of the alehouse as wholly disreputable, its twist on Landland’s* alehouse scene is that Elynour’s establishment is graced only by women. Even though her name has been traved to an actual Alianora Romyng who kept the Running Horse near Leatherhead in Surrey, it is highly unlikely that the all-female drinking den is taken from actuality. According to Peter Clark, women would probably have been customers on special festive occasions, but not at other times. The level of the ballad derives from a genre which present groups of women together as gossips, and the list of names Skelton uses for the drinkers is mostly taken from a fifteen-century carol, “The Gossips Meeting.”

Highly uncomfortable stuff in these times. As Judith M. Bennett discusses in her 1991 work Misogyny, Popular Culture, and Women’s Work:

Literary critics laud the descriptive power, wittiness, and irony of The Tunning of Elynour Rummyng, yet its misogyny is blatant, vicious, and terrifying. Satirically twisting the traditional literary commendation of a woman 170 History Workshop Journal through a detailed catalogue of her appealing features, Skelton describes Elynour Rummyng in careful detail as a grotesquely ugly woman. Beginning by telling us that she is ‘Droopy and drowsy/Scurvy and lousy’, Skelton then details her features: her face bristles with hair; her lips drool ‘like a ropy rain’; her crooked and hooked nose constantly drips; her skin is loose, her back bent, her eyes bleary, her hair grey, her joints swollen, her skin greasy. She is, of course, old and fat. She is also ridiculous, wearing elaborate and bright clothes on holy days and cavorting lasciviously with her husband like – as she proudly tells it in Skelton’s poem – ‘two pigs in a sty’…

In the 2008 text The Culture of Obesity in Early and Late Modernity: Body Image in Shakespeare, Jonson, Middleton, and Skelton by E. Levy-Navarro there is another somewhat related view in the chapter “Emergence of Fatness Defiant: Skelton at Court.” See, Skelton wasn’t just anyone. In the late 1400s, he was he was appointed tutor to Prince Henry, later King Henry VIII of England. Bennett states “Skelton’s social world was broad, running from the royal court and various noble households, through the colleges of Oxford and Cambridge, to the lanes and fields of his parish at Diss, in Norfolk.” Levy-Navarro builds on the idea to take another view – that in the last decade or so of his life, Skelton was on the outs with court and in fact may have had a strong distaste for court:

Much scholarship has assumed that Skelton aligns himself with men in power. A long line of modern scholars makes this point when they assume that Skelton is a modern “man”… who aligns himself with the men of Henry’s court against the lowly women of the tavern world.

Levy-Navarro states that such readings ignore the discontent and defiance in Skelton’s work and, further, that “The Tunnyng of Elynour Rummyng” is a defiant statement against the courtly styles and superficiality:

Skelton offers outrageous, bulging and revolting bodies of the tavern women. These bodies may not yet be “fat” per se, but they are protofat to the extent to which they are seen as revolting against a civilized ethic.

As such, Skelton is observing a the point of the English Renaissance at which manners come into being in a sense that we can recognize as early modern, materialistic self-made people showing wealth and power through a display of expensive and even architectural clothing as well as through the dismissal of intellectual and priestly men like Skelton. In this way of reading the poem, Skelton may not admire or completely side with Elynour Rummyng but he expresses something admirable about her liberty and perhaps is noting the impending passing of that sort – as well as his own sort – of life.

Taking all that in hand, the poem is no longer just a now grotesque, obviously misogynistic romp through the low life of those found in her tavern but also a larger social commentary. It might well be, yes, making fun of the horrors found there but also lamenting a day when such a free and lewd life could no longer possible given the plans for society being made by the newly formed betters to be found in court.

If that is the case, as with science-fiction today, the structure of the alternate reality needs firm grounding in truth as it was understood by the audience. Farce and fantasy do not mix well. There needs to be substance that is credible for the commentary to be acceptable to its contemporary audience. Let’s have a look from, for ease, a modern reading of part of the text which can be found here. Notice first that the tavern sits on a hill, near a road and is readily accessible:

Now in cometh another rabble:
And there began a fabble,
A clattering and babble
They hold the highway,
They care not what men say,
Some, loth to be espied,
Start in at the back-side
Over the hedge and pale,
And all for the good ale.
(With Hey! and with Ho!
Sit we down a-row,
And drink till we blow.)

Sounds like good fun for these ale-slugging women patrons. Note also that the ale is made in the tavern.. the ale house – with a bit of a special twist as this section in the original indicates:

But let vs turne playne,
There we lefte agayne.
For, as yll a patch as that,
The hennes ron in the mashfat ;
For they go to roust
Streyght ouer the ale ioust,
And donge, whan it commes,
In the ale tunnes.
Than Elynour taketh
The mashe bolle, and shaketh
The hennes donge away,
And skommeth it into a tray
Whereas the yeest is,
With her maungy fystis :
And somtyme she blennes
The donge of her hennes
And the ale together ;
And sayeth, Gossyp, come hyther,
This ale shal be thycker,
And flowre the more quicker ;
For I may tell you,
I lerned it of a Jewe,
Whan I began to brewe,
And I haue founde it trew ;
Drinke now whyle it is new ;

So chickens run around the tavern and even into the mash vat, leaving their droppings of dung on the fermenting ale. As learned from a Jewish brewer when she was young, the hen-dung is skimmed but sometimes some is left in the yeast tray so that the ale might be thicker and the yeast “flower” quicker. And it is not just chickens. She has to “stryke the hogges with a clubbe” because they have drunk up her “swyllynge tubbe”! Note how many of the elements of her brewery operations are described.

Look a bit more at more of the language about the ale. It is offered both new and stale. It is nappy and noppy. It is stated to be “good” twice. It is also worthy of a lot in payment or barter so some pledge their hatchet and their wedge, some their “rybskyn and spyndell”, even their “nedell and thymbell” because it is that good:

Some haue no mony
That thyder commy,
For theyr ale to pay,
That is a shreud aray ;
Elynour swered, Nay,
Ye shall not beare away
My ale for nought,
By hym that me bought…

By him that me bought. Christ. It is all so excellent even if, effectively, otherworldly. You may read it many ways but what you are reading is a window not only to a now uncomfortable commentary on early modern life but life within a tavern. Even if a ribald farce, it’s still a tavern as they would have known it. Lovely.

Babylonian Cuneiform And Brewing Patterns

The other day, I read that The Metropolitan Museum of Art in New York had freed thousands of images from their intellectual property right shackles for free and unrestricted public use. This is good. And being a dutiful beer blogger, I immediately put in the word “beer” in the search engine to see what would pop up. And this is what popped up. A chunk of dried mud with scratchings. I love stuff like this. Three years ago, I stared at Mesopotamian brewing things at the Royal Ontario Museum, aka the ROM.  Somewhere I have photos I took thirty years ago of myself, when a selfie took a tripod, at the British Museum staring at Mesopotamian brewing things made of mud. Scratchings made a person over 150 generations ago. On just a piece of mud.

It’s actually more than that. It’s Urra=hubullu, tablet 23 from Mesopotamia in the late 1st millennium B.C.  “Twenty-three, eh?” thought I. Being a clever man I realized there must be twenty-two others. So off I went. Or, rather, I put a few words in Google… and found what I am sure you all expected I would find: Cuneiform Texts in the Metropolitan Museum of Art: Literary and scholastic texts of the first millennium B.C. by Ira Spar, Wilfred G. Lambert published by the Metropolitan Museum of Art, 2005 where I learned about what had been scratched into the dried mud thingie over three thousand years ago. Tablet 23 is a vocabulary of food and drink terms. The passage on this piece of cuneiform cites, at page 234, a 1950 article “On Beer and Brewing Techniques in Ancient Mesopotamia According to the XXIIIrd tablet of the series HAR.ra=hubullu” by Oppenhiem and Hartman which describes the content of tablet 23 in the context of brewing.

Fabulous. So fabulous as it is all seemingly quite authoritative. The Spar and Lambert text goes on to state what exactly was written down on three thousand odd years ago in that clay. There is great beer, dark beer, white beer, cloudy beer and beer for the tigi-songs whatever they were. My favourite might be the symbol for “clear/clean beer” indicating, of course, that folk were both skillful and appreciative of skill. That information is all in column 2. In column 3, the words are about process. Yeast is pulverized, barley bread is crushed and spread just right. It is soaked and dried then soaked and mashed. It is rinsed, pressed, crushed, broken and mixed. Malt is dried, watered, opened, spread and warmed. To my mind, this is more than a vocabulary. This is a guide not so very much different from Samuel Child’s 1768 guide discussed the other day.

This is interesting. How is it that I can read a Mesopotamian clay tablet and pretty much immediately understand what is going on? If it was about religion, governance or astronomy I wouldn’t have a clue. But beer and brewing are not strange. They are, in a very meaningful way, constant. You can see that if we go back to column 2 where you see words for 1:1 beer, 2:1 beer, 3:1 beer and even triple beer. The ratio is the relationship of grain input to beer output. If you scroll down to page 238 of the 2005 Spar and Lambert text you see there are footnotes and in the footnotes an explanation of Mesopotamian methodology. I am just going to cut and paste the footnote in relation to column 2, line 11 and what follows as I think it is one of the more extraordinary things I have ever read about beer in a couple of ways:

 

 

 

 

First, it is extraordinary as it basically sets out the scheme of brewing over 3,000 years ago in a manner which is readily understandable to anyone who has home brewed from an all-grain mash. Second, not only is it understandable… it is very familiar. It looks a lot like the parti-gyle process which makes a lot of sense as no one in their right mind wastes resources. So, the first sparging of the mash gives a 18% sugar solution wort, the second a 6% wort and the third a 1.5% wort. Roughly declining to a third each time. And sometimes the wort is recirculated to strengthen it even more to make what the footnote’s author describes as “very powerful” beer.

What is extraordinary to me is that this ratio looks a heck of a lot like the proper way to brew that I have read about from Piers the Ploughman in England’s 1370s to Matthew Vassar in New York’s 1830s. It reads like the 1825 advert for Thomas Molson’s brewery here in my hometown. Strong ale, single ale and small or ship’s beer with what looks like double double thrown in for good measure, that hazard from Shakespeare to Schenectady.

Which leads to another thought. Is that pattern a constant? Four grades of beer naturally created solely by the relationship between the sparge fluid and mash?  Following these rules you will have a 11%-ish beer, a 4%-ish one and a 1.25%-ish one. As well as whatever the heck double double was to create all that toil and trouble. A constant pattern. Could be. Could be.

The Promise Of Every Man His Own Brewer, 1768

I’ve been thinking about Samuel Child’s 1768 work Every Man His Own Brewer, Or, A Compendium of the English Brewery for a few days and particularly its fine narrative flow. Consider this brief passage in the preface:

I was once on an election, at a certain borough in Wiltshire, and, in the course of our canvass, drank sometimes to the amount of two quarts of beer in the forenoon, not only without sensible prejudice, but that it rather mended my health, and gave me brisk spirits. As I had not been used to drinking, especially in the morning, I admired at this, and found, on the most strict scrutiny, that nothing was used in this liquor but malt and hops, and that its happy vinos flavor was merely the result of good ingredients, well cured, a fine a fine chalk water, and not being too much boiled…

What a lovely way to introduce the basic idea of beer, a bit of knowledge that has been repeated in pretty much every book on brewing and good beer in the intervening 249 years but seldom stated so well. I have dug around in brewing texts from before 1800 hunting for facts about fern ale or that fib about smoke-ridden gak that so many beer experts erroneous suggest was the state of affairs back in the era that, you know, the expert never much studied. But I have not thought about the texts as writing or even read them from beginning to end. Maybe only for Coppinger because he was such an odd duck. 

I’ll do that, save the text to a reader of some sort. But right now look at the table up there. It’s from page 37. First, I love its title. The TABLE. As if Child would have added a few exclamation marks. As if he was just figuring out how to make a table out of HTML. Yet… there is another table also titled “The TABLE” just seven pages later. The thing I like next best is how it is immediately bragged up by the author:

These are hints sufficient to guide any one in the choice of his malts, as it respects the color of his beer, and the time it will be fit for use if judiciously brewed; and the experiment is to be made in the kiln as soon as the malt is perfected, and used as soon after as possible to preserve the genial spirit.

Brew with the malt as soon as kilned to attain the desired colour of the beer. Which means nine grades of beer brewed from any given malting should be considered attainable. Child then over pages and pages describes many sorts of beer: “London Beer under the name of Porter,” London Amber, Burton Ale, table beer, oat ale, Marlborough beers, Dorchester beers, Nottingham beers, Western White Ale.

The variety is quite extraordinary. As a whole, the book frames not so much the state of British brewing in the decade before the American Revolution, at a point before traditional brewing shifts to industrial with the shift to steam power starting with Whitbread in the 1780s as it now provides a guide how to go back and recreate them from the few basic elements he first considered on that election campaigning in Wiltshire. Including, towards the end, exotics including three pages on Brunswic Mum  and a shorter passage on Newfoundland spruce and molasses beer.

It would be a great project to annotate and experiment with the techniques described in the book. It is, after all, only through the use of a guide that one figures out if its any good or not.

20 December 2017 Update: Martyn has indicated in the comments below that the author is a euphemism for an unknown. Let us examine what we can find out. Below is the frontispiece for the third edition… GO!!!!

 

 

That Musty Box Of Fuller’s Vintage Ales

First conclusion of the experiment: the boxes are far less mould caked
when not left in a corner of a cold room for a decade.

OK, it wasn’t so bad. I was worried there for a bit but its gonna be OK. Turns out I have doubles. I have leeway. But, come to think of it, this box holds ten years of Fuller’s Vintage Ales, 2007 to 2016 and it’s high time I tucked into them. First, I bought them and tucked in right away. Later, I would do some comparing and contrasting, like the .05 v .10 and the ’06 v ’11 but I didn’t keep it up. I just stock piled.

I used to stockpile. Like those Stone Vertical Epic Ale annual releases. Like the Thomas Hardy ales. I ended up giving away Stone’s 05-05-05 to 12-12-12 more out of a sense of boredom than anything. By the end of the project it was a parody of itself. Reports were that a third were great, a third were fine and a few plain sucked. Such is the path of big US craft. Yet, they gave more joy to those gifted than my THA’s are given me now. Yik. Malt reduced to soy sauce. Hops now only offering the residue left after I boiled down my childhood ’45s. So glad I saved them. So, tonight I begin my attack the box at the back of the cellar.

First up and this Fuller’s Vintage Ale 2015 is not giving me the joy. There’s an astringent green vegetable taste in the middle of my pint where, you know, rosy cheeked English youth gathering in autumn’s harvest should be gamboling… cavorting even. But it’s clear and the colour of a love match between a lump of amber and a chestnut – which I will grant you is a bit of a range. And it raises a good head. As ale it is not fouled. BAer review speak of a wooden bitterness. I get that.  Don’t want it. But I get it. Yet… as it sits it moves from astringent green vegetable to astringent exotic orange-like citrus fruit you couldn’t pronounce but thought you would buy anyway because “hey, it’s Christmas!” and then you find it dried out a bit at the back of the shelf weeks later, closer to February than December. Which is better. I now get some husky grain. I can even see Seville marmalade from here. Even if made by my cray cray great-aunt well past her marmalade glory days. Household helpful hint: open this and let it breath for an hour.

I had to wash both bottles of the 2014. The first one I pulled out was stored upside down and it’s showing a need to sit for a bit. Cloudy. And both have stage one designate substance issues on the box and label. In the mouth, again with the musty staleness. Gonna let it sit a bit but at least its not paying homage to a green pepper. Later. Better. Still maybe infanticide as the flavours have not resolved. There is a hay loft grainy dry as well as a a rich earthiness. If my garden compost tasted like this I’d be ecstatic. Thinking about it, Gouda and mushrooms on toast. That would work well with this. Later still, the narrative is adds a dry stone aspect. I am now walking on a path on a hot day through rocky fields like those in our nearby fine wine region.  The hops after an hour have a rich sweet field herb and mint aspect. I once owned a scythe and an acre garden needing tending. This is taking me back there.

[More later. An on-going project… until it’s all gone.]

A few days later, the 2013. Bottle washed and cap popped. Cold. Canadian cellar in February cold. Gotta let it sit but the first sniff and sip are promising. Cream, grain and rich sweetness.  Unlike its two juniors, nothing off yet. Receding beef brothiness shifting towards sweet stewed apple. But mainly a mouthful of husky graininess. And cream. Brie cream, though. The cream made by the Brie cows. There’s something going on there. A Brie thing. Brie-like. Maybe. Thick viscous stuff. But no earthy brooding and nothing like Seville marmalade. Fresh and open an hour later. A lovely beer.

One more week has passed. The 2012 just opened had a far less challenging bottle. Cold from the final few boxes in the beer cellar it is stunning, exemplifying what I absolutely love about great beers. Masses of cream cut orange marmalade.  I curse 49 year old me for not buying cases and cases of this. Kumquat even. I say that as a man who just this very afternoon roasted two chickens stuffed with kumquats. Just saying. Go eat kumquats if you don’t understand. Tangy, fresh, intense, bright citrus. I am pouring half an inch at a time into a dimpled pint mug and ramming my nose in, sucking the aroma in deeply.  [That, by the way, is how to drink fine beer according to me.] As it warms, the graininess starts to assert itself. So now it is like wholewheat bread with a double cream and marmalade spread. I should be graphing this, with different brightly colour lines tracing the taste every fifteen minutes. I am going to leave it there. I am having a moment. OK… ten minutes later weedy herbal notes as well as a nod to beef broth come out. Stunning.

Burton Ale: “…They Brewed Not For Home Consumption…”

I hate… yet love… the small nuggets of information I come across when scanning the news reports from the 1700s. That’s a report from the New-York Gazette and Weekly Mercury of 24 July 1780 describing a debate in the House of Commons in London on a committee report on the taxation of malt. The regional rivalries between the big (or bigg) of Cumberland and Westmoreland as opposed to Scottish malt is one thing but that tidbit about the taxation of Burton Ale is gold… maybe.

Burton appears to be in the New York City market from 1770 from the notices like this one from the New York Gazette of 12 November of that year that offering it for sale at the Wall Street store of Samuel Hake. Eight years later, according to the NYGWM of 24 April 1778, it is being sold at the Vendue Store of John Taylor near the Fly-Market at the foot of Maiden Lane at the mouth of the stream associated at the time with the breweries of Medcef Eden and two Rutgers.  Taylor is also selling Bristol beer and our beloved Taunton ale along with porter.  Plenty of the results of English brewing is ending up in the colony.

Notice that Sir William Bagot does not deny the argument that Burton is brewed primarily for export, just that it opens a door to other presumably less valid claims – and perhaps illicit domestic sales. About a year ago, Martyn and I exchanged a few thoughts about the lack of understanding about the origins of Burton ale. But this bit of a Parliamentary debate is one of the only references I have found indicating an understanding at the time that Burton – like Taunton, porter and others – was part of large and organized North American export trade during the second half of the 1700s.

I wish I could figure out how to determine its scale.

For The True Beer Gent, A Hopsack Suit Perhaps?

From Sessional Papers, House of Lords, 1840

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The following was recorded in evidence at the Old Bailey on 9th December 1778 in a case of grand larceny.

Mr. PETER CORBETT sworn.

I am Bengal warehouse-keeper to the East-India Company. I have in my hand the invoice of the Duke of Portland; this was delivered to me from the company when the ship arrived, and it is my duty to see that every thing comes out clear from these packages into the warehouse agreeable to the invoice sent from the company’s servants at Bengal . In the second page, here is a No. 4. S. Taffety, which means striped taffety. Upon the opening of this chest, the servants under me gave me what we call a piling bill; they found only 176 pieces and a small bale containing ten, and this piece, which was kept for evidence. These goods were in a strong chest, nailed down, and there was a strong gunny or hopsack sewed upon it.

Hopsack. I know a bit about hopsack now as I own a blue blazer made of the stuff as well as a pair of black trousers. Neither Mr. Corbett in 1778 nor Mr. Lidbetter likely did. For them hopsack was definitely a packing or wrapping material. It’s formed by making your cloth in a basket weave. Often wool for clothes. Hemp and jute for bagging. Made into a jacket, it’s light summer weight cloth, the open weave letting the air flow. Fine fashion by the 1890s. For sacks and bags it’s strong, perhaps a grade or two above burlap.

The House of Lords was inquiring into the general economic circumstances when it was considering hopsack during its 1840 session, J. Mitchell, Esq., LL.D., Assistant Commissioner of the Hand-Loom Inquiry Commission reporting from the east of England. They learned about sacking and floor-cloth weaving in Reading, Berkshire and specifically Mr. William Harris of the delightful address, the “Hit or Miss beer-shop in Boarded-lane” who described the sad local state of affairs:

In the year 1815 there were as many as 11 masters and about 200 looms; now there are not 12 looms. The trade began to fall off in 1821, and has gradually become less and less, and when the old men, the present weavers, are gone, it is supposed this trade will be at an end in Reading. No person has learned the trade for years past. The price paid for weaving in 1815 was 2 J d. the square yard; this was reduced to 2 4 d., and afterwards to 2 d. per square yard. The sacking is three-quarters wide, or a little more. There is a great deal of time lost for want of regular employment.

There is now only one loom at work making floor-cloth. The web is six yards broad. There are looms which make floor-cloth eight yards wide, and even 10 yards wide. The cause of the want of employment in this branch is inability to manufacture the goods, and come into the market at the same price as the manufacturers of Dundee. The local advantages of that town in obtaining the raw material, in spinning and weaving and sending the goods to market, are such as to leave no chance for competition. The remnant of the business still lingering in Reading is the supply of the neighbouring farmers with sacks. There is no remedy, and with the present race of weavers the trade becomes extinct.

As stuff in demand, locally made Reading coarse packing cloth was on the way out. Why? Trains. It’s always the trains. Or the canals before them bringing in that cheap Dundee sacking… or a cheaper or tastier strong ale. Secondary manufacturers making the packing for the primary producers don’t need to be local when the trains can bring in stuff that’s as good for less. Mr. Lidbetter up there up top? He seemed to still be bucking the trend. He had a market the lads of Dundee couldn’t crack:

There is one article in which there is a decided advantage, that is hop bagging. The town is the very centre of a rich hop district. The consumer, therefore, is close at hand. The hop bagging is made very substantial. As it is the custom when the hops are sold to pay by the pound of the gross weight, hops and bag together, the hop grower has no interest in using a slight fabric. 

See the trick? Heavy sacking for the hops, higher price for the sack of hops. You don’t get that advantage by the train load.

When In Doubt, Consider A Simpler Answer

I left a comment over at Boak and Bailey in response to their noting this week of that Cloudwater cask story which whipped the British beer discussion out of its holiday slumber. That being said, I am still not sure the Cloudwater story has been properly framed so I am unpacking the comment a bit more here.  For starters, here are two tweets from Jeff that I think better get to a key factor underlying the situation:

 —

—

The Cloudwater press release was issued on 1 January 2017. They’ve been brewing for 22 month and have announced they are stopping cask production, stating:

We worry that cask beer has backed itself into a corner that risks becoming unattractive to modern breweries. 

I never trust that sort of use of “modern” as it smacks a wee bit of assumed superiority, echoing the new e-conomy of the late 1990s or at least a shortcut being taken. Especially as they don’t quite say they don’t make a profit – just an “insufficient” margin. Then, as you consider that, compare it to the to the brutally honest but tougher news from Dave at Hardknott on the one hand and how under capitalization can force a good brewery to face difficult decisions. Next, consider the positive story from Hawkshead which runs 65% cask that they also call modern beers.

It seems from those business stories that the question could be better asked as why Cloudwater took on cask without the full resources – or apparently a full plan to make it succeed as other success. Is it as simple as that?  I did find Eddie Gadd of Ramsgate Brewery’s tweet a bit telling:

…most new brewers (inc me) don’t look too closely at the numbers during start-up – we don’t want to be put off the dream!

I notice that the Cloudwater press release mentions they are working with Shelton Brothers and I have a suspicion that I have had their beer at the Allen Street Pub in Albany, a cask specialist, where, due to actual friendships, I do not seem at risk of ever being shelted.  Perhaps it was that pint of Black IPA with a balancing splash of someone else’s brown ale to give it some joy.

In any event, the idea that a firm representing about 1/3000th of British cask production not succeeding is cause to raise prices generally is a bit off. It seems from what we are actually being told is that cask places natural production, distribution and even geographical constraints on the market that the ambitions of international craft can’t overcome or at least cannot easily reconcile without focus and extra capitalization. Makes sense. It is a thing unto itself. Should have been self-evident from proper initial market research.

There is nothing wrong with changing course. Do what makes you money and what you are interested in. But don’t slag the successes of others or blame the market. Congratulate others who succeed where you can’t or shouldn’t have tried.

Would I Go To A Tap-and-Pay Beer Pump Place?

This is news? This is what folk want?

Pay@Pump allows drinkers to order and pour their own pint and pay with a contactless card or device touched on a pad at the base of the pump. The technology has been devised by Barclaycard – and a prototype designed and installed in a Central London pub, Henry’s Café Bar – to help reduce queuing time for customers buying drinks during busy periods.

What is a place like that even called? A tap room? No, a tap room is the sorta thing you find in a back room at a place like the Laxfield Low House. This is just a tap. And, the weird thing, is that its is only that – a tap. One. Click on the photo. So you are getting the last guys beer left overs in the space between the one spigot works its way back into the stand. That might be an ounce. Fine if its all macro gak but, like one of those soda guns behind a bar, everything is getting served through the same nozzle. A bit of stout in your wit? One nozzle. Which no one wipes down between fill-ups. Which means it’s like an elementary school water fountain that spews beer. And whatever else is on that nozzle.

Yum.