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Jay R. Brooks on Beer

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Weekend Reading

October 4, 2009 By Jay Brooks

reading-books
In my on-going efforts to stay caught up, here is some worthwhile reading I’ll suggest taking a look at. These are various random beer articles that have come to my attention over the last few weeks. Enjoy.

  1. Craft Beer In A Can? A Gutsy Move Is Paying Off from NPR
  2. Oh Dear, It’s Beer, Beer, Beer, Beer by Joanne Weintraub, on the Milwaukee-Wisconsin Journal Sentinel Online
  3. That’s a ‘Binge Belly,’ Not a Beer Belly on WebMD Health News
  4. Category Builders vs. Category Killers on the Branding Strategy Insider
  5. Why Every Cold Beer Costs You More by Michael Brush on MSN Money
  6. Celebrate the History of Statistics: Drink a Guinness by Andrew Leonard on Salon’s How the World Works, which is also discussed at the Economist’s View

Filed Under: Beers, Breweries, Just For Fun Tagged With: Economics, Mainstream Coverage

Beer In Art #46: Christopher Nevinson’s The Hop Fields

October 4, 2009 By Jay Brooks

art-beer
Today’s artist is a British Futurist named Christopher Richard Wynne Nevinson. While many of his paintings and illustrations appear to tackle more contemporary themes like urban life and World War I, he did paint some more idyllic landscapes like The Hop Fields.

Nevinson_hop-fields

In fact, his most striking images are almost all the war paintings, showing the unpleasantness of modern warfare. That seems somewhat ironic, as the Futurist movement he is associated with was about making a break with the old and changing the future, more of a political and societal movement rather than one concerned with paintings styles. But I suppose despite World War I being the first modern war, war itself is one of mankind’s oldest instincts revealing its horrors is in keeping with Futurist ideals.

It’s unclear when Nevinson painted The Hop Fields during his career, or where exactly it was done. But it certainly seems right at home during the Arts & Crafts movement that ended around 1910. The hops themselves seem a little thin, but I like that you can see the round buildings in the distance through the vines. You can even buy a print of the The Hop Fields at Bridgeman Art On Demand.

Nevinson’s biography from Wikipedia:

Christopher Richard Wynne Nevinson (13 August 1889 – 7 October 1946) was an English painter. He is often referred to by his initials C. R. W. Nevinson. He was the son of the famous war correspondent and journalist Henry Nevinson and the suffrage campaigner Margaret Nevinson. Educated at Uppingham School, which he hated, Nevinson went on to study at the St John’s Wood School of Art. Inspired by seeing the work of Augustus John, he decided to attend the Slade School of Art, part of University College London. There his contemporaries included Mark Gertler, Stanley Spencer, Paul Nash and Dora Carrington. Gertler was, for a time, his closest friend and influence, but they subsequently fell out when both men fell in love with Carrington.

On leaving the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical English writer and artist Percy Wyndham Lewis. However, Nevinson fell out with Lewis and other ‘rebel’ artists when he attached their names to the Futurist movement. Lewis went on to found the Vorticists, from which Nevinson was excluded (though he is said to have coined the title for the Vorticists’ famous magazine, Blast).

At the outbreak of World War I, Nevinson joined the Friends’ Ambulance Brigade with his father, and was deeply disturbed by his work tending wounded French soldiers. For a brief period he served as a volunteer ambulance driver, before ill health forced his return to England. He used these experiences as the subject matter for a series of powerful paintings which used Futurist techniques to great effect. Subsequently appointed an official war artist, his later paintings lacked the same powerful effect. A large collection of his work can be found in the Imperial War Museum in London.

Shortly after the end of the war, Nevinson traveled to New York, where he painted a number of powerful images of the city. However, his boasting, and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies, in both the USA and England. Roger Fry of the Bloomsbury Group was a particularly virulent critic.

Nevinson was credited with holding the first cocktail party in England in 1924 by Alec Waugh

The first cocktail party in England? How cool is that?

There’s also biographies of Nevinson at Modern British Artists and also at Encyclopedia.com.

You can also see additional pieces by Nevinson at ArtCyclopedia, Artnet, Bridgeman, at the Tate Collection, and the The World Images Kiosk at UC Berkeley.

Filed Under: Art & Beer Tagged With: England, Hops

Firestone Walker Beer Dinner: The 2nd Last At Cathedral Hill

October 3, 2009 By Jay Brooks

beer-chef
Last night was the second to last beer dinner that will take place at the Cathedral Hill Hotel in San Francisco. The hotel is scheduled to be torn down on Halloween to make way for a new hospital. The Beer Chef, Bruce Paton, put on four wonderful courses paired with the beers of Firestone Walker Brewing in Paso Robles, California. Brewer Matt Brynildson was on hand to talk about his beers.

Bruce & Matt Brynildson
The Beer Chef, Bruce Paton, with Firestone Walker brewer Matt Brynildson.

Below is a slideshow of the beer dinner. After clicking on the arrow in the center to start the slideshow, you can also click on the button on the bottom right with the four arrows pointing outward on it, to see the photos in glorious full screen. Once in full screen slideshow mode, click on “Show Info” to identify who and what’s in the photos.

The final beer dinner at the Cathedral Hill Hotel will take place on October 23. Keep an eye on the Beer Chef website for details.

Filed Under: Beers, Events, Food & Beer Tagged With: Beer Dinner, California, Northern California, San Francisco

Session #32: Drink East, Young Man

October 2, 2009 By Jay Brooks

east
Session #32 heads east this month, courtesy of Girl Likes Beer, whose personal goal to sample a beer from every country with their own brewery. She’s had quite a few west of her native Poland, but the east is still largely unexplored. So she’s invited us to go east with her. She explains:

I would like you to pick your favorite beer made east from your hometown but east enough that it is already in a different country. It can be from the closest country or from the furthest. Explain why do you like this beer. What is the coolest stereotype associated with the country the beer comes from (of course, according to you)? And one more thing. If you do a video or picture of the beer (not obligatory of course) try to include the flag of the country.

Where I live in Marin County, California is roughly along the 38th Parallel. Following the line of 38 degrees of latitude east, the next countries one encounters, not including a few Atlantic islands, are Portugal and Spain. As I don’t necessarily have a favorite from those nations readily at hand, I’ll go instead for most recently tried. The most recent Spanish beer I’ve tried, is INEDIT, created by Grupo Damm in Barcelona, Spain. Below is my review of it that was published on one of my other blogs, Bottoms Up.

session_logo_all_text_200

Apparently when Ferran Adrià does something new, the food world pays attention. He’s considered one of the world’s great chefs and cooks at el Bulli, his restaurant in Girona, which is in the Catalonia region of Spain. In 2004, he was listed in Time magazine as one of the 100 most influential people in the world. So he’s no doubt a superstar in the restaurant biz.

spain

Adrià recently lent his expertise to beer-making and worked with Spanish brewery Grupo Damm in Barcelona to help create INEDIT, a beer specifically designed as a food beer. Damm is best known for their flagship Estrella Damm, a decent, if unexceptional, example of a European lager, somewhat similar to Heineken or Stella Artois. So if you were going to pair up with a brewery to make a food beer, whatever that even means, there might be better choices, breweries that already understand the balancing of flavors between beer and food, for example.

Cooking, it should be pointed out, does not automatically make one an expert on beer any more than it makes a brewer an expert chef. The press release claims that designing the beer took 1 1/2 years and “400 trial iterations between the master brewers of Estrella Damm,” Adrià, his retaurant partner Juli Soler, and two of the sommeliers from el Bulli. If you know anything about brewing and how long the average batch takes, if might cause you to wonder how it was possible to brew 400 batches in such a short period of time.

At the Damm website, the reason given for why they wanted to make this beer is explained.

Inedit is the first beer specifically created to accompany food. It is born from the conviction that a beer that could be paired with the utmost respect to the best cuisine was necessary. That is its aim and its virtue, and that is what makes Inedit different, special and unique.

A fine sentiment, except that most craft beer along with many of the fine beers brewed in Belgium, Germany, England and others have already been brewed with food in mind. It’s just part and parcel of any good artisanal beer that its very design, its particular ingredients, and the process by which it was brewed all assures it will be an excellent compliment or contrast with just the right food. Many chefs who have been working with beer for years, such as our own Bruce Paton, the beer chef, already know this to be true and have made a living out of discovering those perfect pairings.

But the press releases really trips over itself:

Developed for gastronomy, INEDIT is an alternative to wine for pairing with all dishes — from informal to more exquisite, sophisticated types of food. INEDIT is a unique coupage of barley malt and wheat with spices which provide an intense and complex aroma. It aims to complement food once thought to be a challenge in terms of culinary pairings, including salads, vinegar-based sauces, bitter notes such as asparagus and artichokes, fatty and oily fish, and citrus.

With its delicate carbonation, INEDIT adapts to acidic, sweet and sour flavors. Its appearance is slightly cloudy, and INEDIT has a yeasty sensation with sweet spices, causing a creamy and fresh texture, delicate carbonic long aftertaste, and pleasant memory. The rich and highly adaptable bouquet offers a unique personality with a smooth, yet complex taste.

Unlike most beers, INEDIT is bottled in a 750 ml black wine bottle and is intended for sharing. INEDIT is to be served in a white wine glass, filled halfway and chilled in a cooler.

All well and good, except that how is it possible every beer aficionado knows something, something they take for granted even, that Adrià and his crew do not; which is that beer is, and has always been, a wonderful match with challenging foods.

The very idea of there being an all-purpose beer “for pairing with all dishes” suggests they don’t really understand beer’s complexities at all. No chef worth his salt would ever suggest there’s one wine that might go with any dish, but beer has for so long suffered in the shadows, and many chefs, sadly, think that beer is just one thing: the mass-produced adjunct swill that people guzzle at sporting events.

That they’ve missed the boat is again made obvious by the statement that “[u]nlike most beers, INEDIT is bottled in a 750 ml black wine bottle and is intended for sharing.” There are many, many beers that are bottled in a 750 ml size, not to mention the 22 oz. bomber, which has been around for decades. Both are, and always have been, for sharing.

Then there’s the serving suggestions, that it “be served in a white wine glass, filled halfway and chilled in a cooler.” I’m okay with the white wine glass — sort of — but Belgians and others have specifying particular glassware for their beer for a century or longer. I feel confident that there’s a beer glass that could work, too. But chilling it in a cooler? I don’t even understand that. Is that done with white wine? Is the wine put in the glass and then both are placed in a cooler to chill? Or do they mean that the glass should be chilled in a cooler first, a milder version of a frosted glass? Either way it’s a bad idea, something you should never do to your beer. It probably wouldn’t hurt it the way a frosted glass has the potential to harm beer, but it’s a road we shouldn’t even start traveling down.

But let’s forget all the hype and just talk about the beer itself. After all, that’s really what’s most important. Not surprisingly, Inedit does not live up to the hype. How could it? It’s not that it’s bad, it’s really not, but it’s hardly exceptional in a field in which there are literally countless examples of better beers to pair with food, perhaps hundreds of them being brewed right now just in the Bay Area. Try Arne Johnson’s Point Reyes Porter (from Marin Brewing) with a fine Mexican mole, for example. Absolute heaven. Or Vinnie Cilurzo’s Salvation (from Russian River Brewing) with the Chili Chocolate Mousse featured by Bruce Paton yesterday in his Food & Beer piece. Another slice of heaven. But let’s get back to Inedit.

Inedit’s nose is surprisingly subtle with few spices coming through. As it warms, some of them do start to appear, though still they remain underneath. The sweetness is what comes through on the nose. It’s slightly cloudy like a witbier, though apparently it’s a blend of a lager (most likely something similar to Estrella Damm) and, they claim, a German-style weissbier. There’s no hint of cloves or banana in the nose, suggesting instead that a weissbier yeast has not been used. It has been brewed with orange peel, coriander and licorice. Orange peel and coriander are common ingredients in a Belgian-style wit or white beer, though not a Bavarian-style weissbier. It is unfiltered and is 4.5% a.b.v.

inedit

The mouthfeel is a little thin though the flavors do exhibit some creaminess. Again it’s sweet flavors that dominate the palate, with what spices that do come through being very subtle and remaining in the background throughout. The lager blend seems to contribute a nice clean character, and the finish is quick and similarly clean, dropping off almost immediately. It’s not a bad beer, though there’s no real synergy to the blend, as if it can’t make up its mind what it wants to be. It could work fine with a light salad or some other light fare, but I don’t think it would stand up to heavier flavors very well. At around $9.99, it’s not a bad deal, just don’t expect to be wowed.

I noticed a curious thing though about how this beer’s been received in the two weeks since it was first opened to great fanfare at chef Dan Barber’s Blue Hill at Stone Barns. Barber’s another big time chef, and this year he was picked by Time magazine as one of the 100 most influential people, and it was none other than Ferran Adrià who wrote about Barber for Time. People who’ve reviewed this beer seem to be split down the middle along some telling lines. Beer reviewers seem to consider it, as I do, as average at best. But many food writers, presumably because anything Adrià does is newsworthy, wrote uncritically about it, accepting what was in the press release and passing it along verbatim without question. I’ll let you decide what conclusions to draw from that.

In the New York Times, food writer Florence Fabricant gushes that it “behaves like a wine,” which personally I take as an insult, though I know she doesn’t mean it that way. I suspect Fabricant and other food and wine writers will continue to not quite know what to make of this beer, simply because they don’t seem to really understand it. Fabricant continues by saying later in the short review that Inedit “undergoes a second fermentation in the bottle, like Champagne.” Except that its secondary fermentation, in the beer world, is called bottle conditioning, and is a common practice that’s at least as old as the similar method in champagne-making. There was no need to resort to wine in trying to describe what was going on in the beer.

When she interviewed Adrià last week about the beer she got this gem. “The idea was to make a beer to drink with food, from a wineglass.” The problem, as I see it, with statements like that and Fabricant’s suggestion that the beer is “behaving” like a wine is that, simply put, it isn’t, it can’t, and we shouldn’t even want it to: it’s beer. The only thing about it that makes it appear in any way wine-like is their lack of experience with beer and their apparent refusal to learn anything about it, preferring to fall back on laughingly uneducated wine comparisons. Beer is already the equal of wine in terms of complexity and sophistication, and has been for some time. Sure, there are simple beers, the most popular ones made by the big breweries, for example. But there are also box wines, table wines and Blue Nun, too. That chefs and food writers have no trouble distinguishing between fine wine and the more pedestrian varieties should prepare them to view beer in the same way, yet so few do. Don’t get me wrong, I love wine, too. But it’s just made from one thing: grapes. Beer is made from four primary ingredients (barley, hops, water and yeast). Add to that other grains (like wheat or rye) and other fruit, herbs and spices, then take it and age in a barrel. There are virtually endless combinations of these ingredients and processes that all but guarantee that the complexity that can be realized by a great beer far exceeds most, if not all, wine. These great, complex, sophisticated beers are fantastic with food, and have been for a long time. Pick up Garret Oliver’s “The Brewmaster’s Table,” Stephen Beaumont’s “beer bistro cookbook” or Lucy Saunders’ “Beer & Food, Pairing & Cooking with Craft Beer” at your local bookstore. These authors, and many others, have been writing about the pleasures of beer and food for years and years. It’s frustrating that beer has to continue to claw and fight for the respect it deserves.

Things are starting to change — slowly — and some chefs are beginning to discover that beer often pairs better with many different dishes; heavy meat dishes, cheese, and other spicy foods, to name a few. A majority of culinary schools do teach their students about wine but still ignore beer entirely. To me, that says a lot about the root of the problem. Despite decades of effort by hundreds and hundreds of small breweries to elevate the quality and status of craft beer, many still refuse to afford it the respect it’s due. That’s a shame really. They’re missing out on a lot of pleasure.

Inedit, unfortunately, will not prove to be the answer. The name, Inedit, means “novel, new or original” in French. Too bad it’s not really any of those things.

Filed Under: Beers, The Session Tagged With: Europe, Spain

If Beer Is The Kettle, CASA Is The Pot

October 2, 2009 By Jay Brooks

casa
The National Center on Addiction and Substance Abuse (CASA) at Columbia University, is nothing so grandly academic as its name suggests, but one of a growing number of anti-alcohol groups infecting America with its agenda. Today, its Chairman and Founder Joseph A. Califano, Jr., accused the Brewers Association and the Beer Institute of Chutzpah (which he misspelled “chutzpa”) and two specific members of the House of Representatives of hypocrisy. Talk about the pot calling the kettle black!

On his Chairman’s Corner blog today, he rails against the BEER Act, which Congress introduced back in mid-February. H.R. 836, or as its more commonly known, the Brewers Excise and Economic Relief Act of 2009, seeks to roll back the federal excise tax on beer that was doubled in 1991. The bill also would provide additional tax relief for small brewers. Most people, especially those who oppose alcohol, make the assumption that excise taxes are proper to punish the sin of drinking.

He gives his “First Annual Chutzpa (sic) Award” to the Brewers Association and the Beer Institute for H.R. 836, claiming they’re arrogant and he even has the balls to suggest them of bribery! First of all, he’s seriously delusional if he thinks small brewers have piles of cash for lobbyists.

The fact that a trade organization might work for favorable treatment by Congress for its industry or for a reform of the laws that regulate them, appears to be a novel concept to Califano. Isn’t that what every trade organization does? Did I miss a meeting? It’s okay for every other lobby, but not beer? And we’re arrogant for being happy when something goes our way?

He’s upset because for some reason he believes that the alcohol industry is responsible for the minority of people who abuse it. And, as usual, he throws around the nonsensical statistics of how much societal costs alcohol is apparently on the hook for, even though that’s not true of virtually any other industry.

As I’ve noted in Sin Tax Tyrannies, U.S. Senate Told To Raise Beer Taxes, Stupid Is As Stupid Does, The Lie That Won’t Go Away, and who knows how many others at this point, the notion of taxing only alcohol and tobacco should be deeply disturbing to any rational human being. Those two products are the only ones in our country that have excise taxes imposed on them, taxes no other companies have to pay.

People like Califano and his ilk see no apparent contradiction in tobacco and alcohol having to pay for their presumed sins but every other product that’s bad for us in quantity doesn’t have to. Soda companies don’t pay for the medical costs of the obesity epidemic. Meat companies don’t pay for higher heart risks from the over consumption of beef. Too much of almost anything can be bad for you, but we don’t say there shouldn’t be prescription drugs on the off chance that some people might abuse them.

Califano goes on to give his so-called “First Annual Hypocrisy Award” to the sponsors of H.R. 836, calling them hypocrites because for reasons passing understanding he seems to believe that being pro-alcohol and also for health care reform is contradictory. It appears to come back to the idea that alcohol has to pay for any health consequences that someone who drinks might encounter, yet no other industry has to do likewise. The Patriot Act specifically gave an exemption to pharmaceutical companies for any harm caused by them, but beer better pay its bill, by gum.

To me, that’s a far more hypocritical position to take, especially when his arguments are laced with the usual faulty statistics and, naturally, the “it’s for the children” gambit that has become de rigueur for anti-alcohol groups to invoke. Cutting the beer tax, Califano insists will mean more underage drinking, despite the fact that underage drinking is still illegal. The fact that people under 21 still manage to buy alcohol is somehow the beer industry’s fault; not law enforcement, not retail, not the ridiculousness of the law itself. But raising the tax (and thus the price) so it’s too expensive for kids punishes every adult who can legally buy alcohol, too. That’s not a problem if you want another prohibition, of course, but for the rest of society that seems patently unfair and even cruel.

Most intelligent legislators I should think are more concerned about getting our economy on firmer footing — something that H.R. 836 easily accomplishes — than following the misguided advice of the lunatic fringe that CASA represents. If I had my own made-up award for hypocrisy, Califano, CASA, and the rest of the Neo-Prohibitionist groups, would certainly be worthy recipients.

Filed Under: Editorial, Politics & Law Tagged With: Prohibitionists, Statistics

Serenity In Beer & Ale

October 2, 2009 By Jay Brooks

ubif
During World War 2, the brewing industry trade organization known as the United Brewers Industrial Foundation, which was formed by the USBA in 1937, worked with the U.S. Government to create a series of ads to build morale and on their own to highlight the positive aspects of beer. Out of these grew the more familiar “Beer Belongs” series and the “Home Life in America” series of ads that the United States Brewers Foundation created and ran from 1945 to 1956. You can read my article about these later ads in the current issue of All About Beer magazine. But I recently came upon the ad below that ran in Life magazine’s August 4, 1941 issue, at page 29. I just love the language of the text, which I reprinted below, because it’s hard to read with the ad displayed so small. (Though you can click on it or here to see a larger view.)

In a hurrying, scurrying world

 

there’s serenity in beer and ale

 
Telephones jangling … radios blaring … auto horns honking … airplanes roaring. In big city or small town, peace is hard to find … and precious.

YES! It’s a busy, dizzy world in which we live! And every man and woman in it needs now and then to get away from it all. Needs to sit down quietly and shut out the din and noise for a peaceful hour or so.

In your needed hours of relaxation, beer can play a pleasant part. For this delicious brew does more than delight your taste. Its mellow, kindly nature helps to unsnarl tangled nerves, helps to refresh a weary body, helps to restore a faltering spirit.

Made from nature’s choicest grains and flavored with plump, ripe, fragrant hops, beer is a mild, wholesome brew. In fact, from earliest times, men have called beer and ale the “beverages of moderation.” Make them part of your own plan of balanced, tolerant, temperate living.

UBIF

Isn’t that just beautiful. It brings a tear to your eye. Beer is certainly part of my own balanced, tolerant, temperate living. It’s funny how the pressures of life in 1941 seem almost exactly the same as those of 2009, isn’t it? I need a vacation. Good thing I’m taking one in less than two weeks.

Filed Under: Art & Beer, Breweries, Editorial, Just For Fun Tagged With: Advertising

Beer Raped Your Daughter and Gave Her Gonorrhea … Again

October 1, 2009 By Jay Brooks

reason
Thanks to Anat Baron for tweeting this my way, but it seems that the storm clouds are once again gathering over ridiculous propaganda aimed at beer. Luckily, Reason Magazine — a periodical I’ve written for — is on the case in a piece entitled Beer Raped Your Daughter and Gave Her Gonorrhea. Again.

It concerns a Washington Post editorial where two doctors argue out of — one hopes — a sense of fealty to their Hippocratic oath that more expensive beer means lower consumption, less problems, less issues, less greenhouse gas emissions, less poverty, less .. well, you get the idea — the world will be a magically better place if only there were more taxes on beer. Of course, we’ve been down this argumentative road before and their statistics, like others before them, don’t add up. They never do, but that doesn’t stop them for spouting off and making this shit up, because they seem to be taking the approach of a lie repeated often enough becomes a fact over time. As a member of The Angry Arm of the Alcohol Lobby, I say bullshit.

Here’s their nut job argument in a nutshell:

One way to reduce the harmful effects of heavy drinking is to make drinking more expensive: the more a drink costs, the less people drink. This is true of young people, pregnant women and even heavy drinkers. Research indicates that a 10 percent increase in current alcohol excise taxes — that is a penny for a beer — would result in less drinking, especially among underage drinkers, reducing rape, robbery, domestic violence and liver disease. A tax increase of 3 cents per beer would cut youth gonorrhea by 9 percent.

So more expensive beer means less rape, less STDs, less domestic violence and all manner of other horrors. Because that’s the way it’s worked as cigarette prices have kept going up, right? Here’s how Reason looked at this argument:

I’m going to pull out that last line one more time in case you, like me, sometime skim over blockquotes too quickly:

A tax increase of 3 cents per beer would cut youth gonorrhea by 9 percent.

Look at the lovely young lady at right [an old Budweiser print ad of a couple fishing]. If only a three cent tax on that Budweiser could have saved her from the heartbreak of VD.

Messrs. (Drs.?) Sederer and Goplerud have taken the fine art of vaguely claiming that “studies show…” to a new level. Obviously, the argument here is that lots of beer makes people more likely to rape, pillage, etc. and that pricier beer means less consumption. A quick Google reveals that they’re pulling from 2000 study that looked at beer taxes and gonorrhea rates in various states. Reason, of course, tore this study a new one back when first made the rounds. Key passage:

[David Murray of the Statistical Assessment Service, a non-profit think tank in D.C.] does yeoman’s work pointing out the junk reasoning at the root of so much junk science. This one was a high, hanging curve for Murray, who said the CDC’s thinking was on the level of “the sun goes down because we turn on the street lights.”

The really interesting thing is that the CDC, in effect, agrees with that criticism. It buries its assent, however, in an editorial note that says the findings “do not prove a causal relation between higher taxes and declining STD [sexually transmitted disease] rates.”

To get a sense of how bad their math is, just look at their assertion that a 10% increase means only one penny more in excise taxes. That would mean that the taxes now would be 10 cents for that to be true. Are they? Not even close. There’s a federal excise tax on beer, and then a state one, too, and the amount varies widely from state to state, making that line ridiculous on its face.

And they trot out this old saw:

It has been 18 years since federal taxes on alcohol have changed. If all spirit taxes had increased at the consumer price index and been taxed like liquor, federal taxes on a shot of spirits would have increased by 10 cents, a beer by 21 cents, and a glass of wine by 24 cents. Making that adjustment now would raise $101 billion over 10 years, without state tax increases. Equalizing the tax among beer, wine and spirits, without inflation, would raise $60 billion over 10 years.

Don’t you believe it. I’ve examined this argument thoroughly before in Here We Go Again: Beer & Taxes and Why Alcohol Doesn’t Get A Pass, among others, and it’s nothing but vicious propaganda. And propaganda made even worse by virtue of it coming from medical doctors, who people tend to believe have their best interests at heart. They don’t, of course, doctors have their own interests at heart, like everyone else. Just look at how they attacked the idea of health care reform, beginning all the way back in 1948 when a P.R. firm hired by the AMA actually coined the term “socialized medicine” to scare people into making sure we wouldn’t have universal health care in this country. That’s how much they care about you and me.

If you track these things, like I tend to, you’ll notice that the attacks on alcohol have been getting more frequent, more virulent and more mainstream. You don’t think that could have anything to do with pharmaceutical ads proliferating while alcohol ads are highly regulated and restricted? Nah, must be a coincidence. Now where does your daughter hang out? I want to buy her a beer.

Filed Under: Editorial, News, Politics & Law Tagged With: Mainstream Coverage, Prohibitionists, Statistics

GABF: A Week In 1 Minute

October 1, 2009 By Jay Brooks

gabf_logo
The Brewers Association, who put on the Great American Beer Festival, just posted a cool little video of GABF, showing three days of set up, four festival days and the final clean-up day all in time-lapse film that takes only a minute. See if you can spot anybody you know.

The Great American Beer Festival from Brewers Association on Vimeo.

Filed Under: Beers, Events, Just For Fun Tagged With: GABF, Video

Jeff “Lucky Pants” Babgy Wins Big

September 30, 2009 By Jay Brooks

pizza-port
Jeff Bagby, the head brewer at Pizza Port in Carlsbad, won big this year at the Great American Beer Festival. He picked up a whopping seven medals; four gold, one silver and two bronze. In addition, Pizza Port Carlsbad was awarded the Large Brewpub and Large Brewpub Brewer of the Year.

Below is a photo of Jeff, with Yiga Miyashira, up on stage picking up just one of his eight awards last Saturday. Notice the eyesore inducing polyester plaid pants? If you’re a regular to the GABF Award Ceremony, you may already remember that Jeff always seems to have on a pair of plaid pants. At first, I thought it was the same pair every year. But looking back over the last few reveals that it’s actually been a different pair of polyester plaid pants each year.

Given that Jeff and Pizza Port Carlsbad have won 19 medals in the last four years, I’d say his plaid pants are pretty darn lucky. Of course, being a great brewer helps, and I don’t want to take anything away from his mad skills. But I’d put even money on the pants making even the most mediocre brewer better. Below is a retrospective of Jeff’s “Lucky Pants” for the past four years.

2009 Lucky Pants
P1160443

2008 Lucky Pants
P1120452

2007 Lucky Pants
gabf07-awards-16

2006 Lucky Pants
gabf06-awards-14

If you, too, want or need a little luck — and let’s face it, who doesn’t? — I took a close up of the pattern on Jeff’s lucky pants and created some downloadable wallpaper in three different sizes. So now in addition to the Bulletin logo wallpaper page, you can also get Mr. Bagby’s wallpaper, too.

Jeff Bagby’s Lucky Pants 2009 Wallpaper

bagby-pants-800

  • 800 x 600
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Filed Under: Breweries, Events, Just For Fun Tagged With: Awards, GABF, Humor, San Diego

Beer In Art #45: The Hindu God Shiva As Bhairava, Bestower Of Beer

September 30, 2009 By Jay Brooks

art-beer
Today’s work of art is an unusual one. I chose it because it’s on display at the Denver Art Museum, where a good portion of the beer community has been all last week for the Great American Beer Festival. It’s a sculpture from around the 1600s of Bhairava, one of the forms the Hindu god Shiva can take.

bhairava_1967

It’s originally from Nepal and is “polychromed wood, 33 1/4 in. high.” The museum described the work as follows:

Here, the Hindu god Shiva is shown in his terrifying form, Bhairava, which he assumes to destroy evil. He stands menacingly astride a prostrate human figure and is framed by an ornate multi-colored archway carved with deities and mythical creatures, including the sun-bird Garuda at the top. The hole at the front of the lotus base was perhaps used with a spout attachment in festivals when from an elevated position Bhairava would dispense beer to devotees below.

Searching around a little more, it seems Bhairava is also commonly known as “The Bestower of Beer.”

Wikipedia has some basic information about Bhairava:

Bhairava (Sanskrit: भैरव, “Terrible” or “Frightful” Tamil: பைரவன், வயிரவன்)), sometimes known as Bhairo or Bhairon or Bhairadya, is the fierce manifestation of Shiva associated with annihilation. He is one of the most important deities of Nepal, sacred to Hindus and Buddhists alike.

He is depicted ornamented with a range of twisted serpents, which serve as earrings, bracelets, anklets, and sacred thread (yajnopavita). He wears a tiger skin and a ritual apron composed of human bones. Bhairava has a dog as his divine vahana (vehicle).

At the Rubin Museum of Art in New York City, there’s a mask of Bhairava on display, also from 16th century Nepal.

Bhirava mask

From the Rubin’s description:

While in his peaceful forms Shiva is depicted in human form, his wrathful form, the terrifying Bhairava, is shown as more monstrous than human, with demonic features that reflect his ultimately destructive purpose. Still this wrathful emanation remains connected to his non-violent alter ego. Not only does Shiva’s serene countenance gaze down from the center of Bhairava’s crown, but the terrible form also shares several important iconographic attributes with his peaceful counterpart, reinforcing Shiva’s dual role as destroyer and regenerator.

The Hindu god Shiva is a many-sided god. In this mask he appears in a wrathful state as Bhairava, while you can also see his peaceful alter-ego at the top of his crown. As the embodiment of Shiva’s destructive power, Bhairava eliminates ignorance and the ego to help practitioners reach spiritual enlightenment.

Bhairava is very popular, particularly in the small Himalayan country of Nepal. He is worshipped in temples and during festivals and by Hindus and Buddhists alike. Large Bhairava masks, such as this one, are unique to Nepal and play an important role in the festival celebration of Indra-jatra (a festival in the Katmandu Valley, celebrated by both Hindus and Buddhist practitioners.) On specific evenings home-brewed beer, stored in a hidden pot, is dispensed through a tube that emerges from the mask’s mouth. Devotees consume this beverage (created as an offering to Bhairava) with the belief that it will bring blessings upon them in the coming year.

Yet another mask can be found at the Art Institute of Chicago. In the description on Knile’s Flickr page (who took the photograph of the mask below), he also mentions the beer aspect of the Bhairava.

Nepalese-made copper head of Bhairava, a form Shiva takes. A vat of beer sat behind the head, and tubes went down to the mouth from the vat. Believers would drink from these tubes.

bhairava_mask

In 1999, the Philadelphia Museum of Art acquired a mask of the Nepalese God Bhairava, Bestower of Beer, which they describe with this story:

Lavish public festivals were vital to the politics of the Malla period. Some Malla kings revived fading traditions, while others introduced new practices to public worship in order to reinforce their claims to the throne or sway public opinion. This mask of Bhairava, a wrathful form of Shiva, was created during the Malla period for such a celebration. During a festival like Indra-Jatra, which is celebrated annually over several days in early fall, a mask like this is connected to a large pot filled with home-brewed beer. At an auspicious moment, the mask, garlanded with leaves and flowers, is wheeled out on a wooden platform and the sanctified beer is released suddenly, spurting out of its open mouth. As music plays, crowds of worshipers jostle to catch a mouthful of beer, considered a gift and a blessing from the god. Both Hindus and Buddhists worship this deity who is honored as the protector of the city of Kathmandu.

bhairava_mask-3

Known as the Face of Bhairava, it was made in the Kathmandu Valley, Nepal during the Malla Period (1200-1769), but is most likely circa 16th century. It’s made of mercury-gilded copper alloy repoussé with rock crystal, paint, foil, and glass and measures 29 x 25 x 18 inches.

In a 1999 press release, they elaborate:

The Hindu god Shiva bears many different names and forms across South Asia. In Nepal, the most important of these is Shiva in the form of Bhairava. Bhairava is a feared and ferocious god, needing to be pacified with offerings, but he is also a powerful guardian and the destroyer of evil. The Philadelphia Museum of Art welcomes a newly acquired image of this terrifying-yet beloved-deity. Fierce, powerful, elegant and delightful, the Face of Bhairava glares at visitors from high on a wall in the Gallery of Himalayan Art.

A huge, mask-like face, the Museum’s image of Bhairava is two and one-half feet high. Three bulging eyes, tangled hair, bared fangs, and ornaments of skulls and snakes indicate the god’s fierce nature. The gilded sculpture is constructed of multiple pieces of hand-beaten copper. Its face is topped with an exquisite crown wrought with lusciously realistic flowers and foliage, and inset with large cabochon rock crystals and glass jewels. Four perky serpents intertwine their bodies to form the crown. Their scales are overlaid with helmet-like skulls disgorging pearl chains and a small head of Shiva in his peaceful form. This sculpture most likely dates to the 16th century. Red pigment and ritual powder coat the curling flames that fan out above the crown, evidence that the image was worshiped for many years. Although missing its original round earrings, neck, and two lower hair segments, this fragile image of Bhairava has survived in an astonishingly complete state.

Monumental heads of Bhairava are made in Nepal for various festivals but most notably for Indra-Jatra, an important and complex multi-day event that takes place in early fall in the city of Kathmandu. Named after Indra, king of the gods’ heaven, the festival focuses on the reaffirmation of Nepal’s more worldly ruler. Along with honoring the dead, activities include the re-consecration of the king by the Kumari (the living goddess), and the commemoration of the conquest of Kathmandu by King Prithvi Narayan Shah, who conquered Nepal in the 18th century and founded the present dynasty. Another activity of Indra-Jatra is the honoring of Bhairava, who is not only one of the servants of the Kumari, but also the protective deity of the city of Kathmandu.

On the afternoon of the third day of the festival, an enormous mask-like copper image of Bhairava, much like the Museum’s sculpture, is specially garlanded with leaves and flowers and placed on a cart. The actual image in use today in Kathmandu was consecrated in 1795 and during most of the year is sequestered behind a latticework screen near the royal palace. During the festival, it is brought out and a large clay pot of home-brewed beer is placed behind and within the face. A copper pipe is run from the pot through a hole in the mouth of the image (the grinning mouth of the Museum’s Bhairava bears a hole the size of a penny between its fangs). After the Kumari has been honored, sanctified beer spouts from the pipe, drawn by gravity but appearing to spurt from Bhairava’s open mouth. As music plays, worshippers jostle to catch a mouthful of beer, for it is considered a gift and a blessing from the god. Other smaller images of Bhairava, made of metal, clay or wood—and also rigged to dispense beer—are used during the festival; the Museum’s Bhairava was originally intended for this purpose.

In the The Roots of Tantra, by Sunthar Visuvalingam and Elizabeth Chalier-Visuvalingam, there’s a fascinating chapter called Between Veda and Tantra: Pachali Bhairava of Kathmandu (Towards an Acculturation Model of Hindu-Buddhist Relations) in which they reveal just how closely beer is associated with the worship of Bhairava:

In the Newar tradition, each god has generally two temples. One is situated outside the town, and the god is venerated there in the open-air temple called a pitha. The other is inside the town, and the god is venerated in a closed temple called a dyahche in Newari. This dyahche is, in fact, a special room inside the house of the family who keeps the Bhairava jar. In the closed temple, Pachali Bhairava is represented by and worshiped as a jar filled with beer.

You can see yet another Bhairava mask at the Dallas Museum of Art and one being auctioned at Christie’s.

On a website about the Himalayan Gods, they reveal in that tradition “the inter-relationship between the worshiper and the worshiped is demonstrated each year on the night of the full moon during the Indra Jatra festival when the great mask of Bhairava, dated 1795, in the palace square in Kathmandu, issues sacred beer from its open mouth through a bamboo pipe to waiting devotees below.”

In Part 6. “Socio-Political Levels in the Sacrificial Schema, “they describe how at “[t]he annual festival of Pachali Bhairava is based on the Hindu sacrificial schema, where there reappears the ancient theme of the theft of the Fire and Soma (ambrosia), represented in the present case by the jar of beer.”

A God known as “The Bestower of Beer” and “worshiped as a jar filled with beer!” How have I never heard of this before?

Filed Under: Art & Beer, Beers Tagged With: History, Nepal, Religion & Beer

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