On Soul
There's a whole lotta soul under those caps. - Click for source.
Some big news in the beer world this week was AB InBev’s announcement that they will be opening Belgium beer cafes, sort of akin to the influx of Irish pubs 20 years ago. For such stories, I like to depend human filters such as Stan Hieronymus at Appellation Beer Blog. Stan sorted through an article to find a key quote. One line caught my eye:
“You don’t build create a Belgian beer cafe in five minutes,” De Baets says. “It’s generations of owners and customers that build the place, and then give a soul to it.”
De Baets is Yvan De Baets, masterbrewer and co-owner of De la Senne brewery in Brussels. Stan sees De Baets as a trusted mind in the beer community. So, by proxy, I trust him as well.
Regardless, the part that really struck me was the fact that an authentic Belgian beer cafe has a soul. That’s the biggest difference between an actual Belgian beer cafe and whatever AB InBev will establish in every mall and airport across the country. The idea of the soul of a place (or things – that’s coming) speaks to me. It feels like the clear difference between the authentic and corporate is the soul.
How does a place or thing develop a soul? As suggested above, it’s the people who frequent a place. It’s experiences and memories that contribute to a soul. I suppose that’s not entirely different from people, but we tend to have souls to begin with (if you believe in that sort of thing). All the marketing in the world cannot construct a soul. If anything, the sterilized, watered-down, corporate aesthetic that is sure to pervade these AB InBev beer cafes will hardly leave room for a soul to develop.
Anything corporate tends to be soulless. Despite what Mitt Romney tells us, corporations are not people and they have no soul. Of course, an authentic Belgian beer cafe isn’t technically able to have a soul either, but try telling that to its loyal patrons. For anyone who has a regular place at which they socialize and imbibe, said place is a living, breathing thing. So, such a place can have a soul. It just takes a while to develop.
Before you all jump down my throat for discounting anything corporate, I’ll admit that these places and things can have a soul. It’s just more difficult in a corporate model. Apple products have a soul, even when some of their corporate actions are a bit soulless. Some of the old auto factories in Detroit certainly had souls as the center of their communities…until they were shut down and their jobs were sent south of the border. (I’m not talking about Ohio.) There are other examples, but I don’t think it’s nearly as prevalent as the non-corporate world.
Like the Belgian beer cafes, craft beer has a soul. It’s in the people who found breweries and brew the beer. It comes from the cicerones and beer enthusiasts. Homebrewers almost certainly play a role in the soul of craft beer as well. While corporate beer depends on its own people, hard-working, salt of the earth kinds of people, it’s not the same thing. Any semblance of a soul is sucked out corporate rice adjunct lagers when you find the Budweiser you get in St. Louis is exactly the same as the one you get in Hong Kong or Germany. Corporate efforts to standardize their product everywhere strips it of its humanity and its soul with it.
Craft beer demonstrates its soul through the characters who represent it. Although Boston Beer Co. has nearly outgrown its craft beer status, Jim Koch remains the face of Sam Adams beers and continues to fight for the company’s soul. Better examples might be found at Dogfish Head (Sam Calagione), Stone (Greg Koch), Russian River (Vinnie Cilurzo), Jolly Pumpkin (Ron Jeffries), Stillwater (Brian Strumke), etc. All these people are not only advocates for their industry, they are also personality that encapsulates their breweries. This personality and humanity gives these breweries soul.
Soul is how I separate what’s indie and what’s not. No, I’m not talking about that kind of soul, but it can fit my definition if need be. I’m talking about the same kind of soul that goes into craft beer. It’s that soul that can only be associated with humanity that defines indie rock. Can a band on a major label have soul? Sure. However, so many musicians are constructed or manipulated in a way that strips their art of any kind of soul.
Music, like all art, is tougher to pin down to what has soul and what doesn’t. It’s so much more subjective. Also, all art comes from a very human place, meaning that just about all of it demonstrates a soul at work. So, I won’t go much further into what constitutes soulful music and what doesn’t. I have a post on the way about what’s indie. That should suffice to define my criteria.
Anyway, the original point is that something that is indie, craft, artisanal, whatever demonstrates soul or soulfulness. The human component should be strong in order for that soul to exist. As producers grow and become more corporate, some of that humanity and consequently the soul is lost. So, the next time someone asks why you choose to drink that craft beer, tell them it’s because it has soul.
On “Boring”
How are beer and music boring, or rather, “boring?” There’s been a discussion online over what makes something both artistically significant and boring. Now, months too late, I’m joining the fray.
Instead of rehashing the entire saga, I’ll point to the two pieces that inspired this post. First, there was Dan Kois’ “Eating Your Cultural Vegetables” where the author had the gull to suggest that the critical darlings of film are actually rather slow, boring even. Other film critics did not agree. Then, his good buddy, Steven Hyden, over at AV Club said basically the same thing about music. I suspect the AV Club piece will garner less vitriol than the film piece. Still, both critiques are spot-on. The most critically-acclaimed film and music can be a bit tedious.
Hyden differentiates the boringness of film and music. In music criticism, he writes, “…we have no problem classifying art as boring.” Eventually, he differentiates the boring from the “boring.” Hyden writes:
Any kind of music can be boring depending on the listener. No song is inherently not-boring—not even CCR’s “Ramble Tamble”—because boring is obviously based on subjective perception. This makes boring music hard to pin down. In a sense, all music is boring. The same, however, can’t be said about “boring” music. “Boring” is its own genre. It is a code word that instantly conjures artists with clearly definable attributes. “Boring” music is slow to mid-tempo, mellow, melodic, pretty in a melancholy way, catchy, poppy, and rooted in traditional forms. It is popular (or popular-ish). It is tasteful, well-played, and meticulously produced. (Or it might sound like it was recorded in somebody’s bedroom under the influence of weed and Sega Genesis.) It is “easy to like”—or more specifically, “easy for white people to like” (“white people” being a sub-group of white people singled out by other white people). It is critically acclaimed (perhaps the most critically acclaimed music there is), and yet music critics relish taking “boring” musical artists down a peg more than any other kind of artist.
He continues by naming BICTBAP favorites Fleet Foxes, The National, ST. Vincent, among others whom he considers to be “boring.” I can’t really argue with that assessment. I’m white people. I like that music.
Then, I consider whether or not I still like that music. Sure, it’s fine, but I haven’t listened to the last National album since well over a year ago and that’s because I rode in a car playing it on the way to seeing them in St. Louis. Hyden argues that “boring” is not necessarily bad. I’d argue that it’s not necessarily good either. “Boring” has the same effect as boring. The only difference is that we can’t figure out how to dislike some art when it’s “boring” until one day, it just occurs to us. With boring art or music, we know right away.
So, I considered what the effects of “boring” music on my musical tastes are. Well, I think not too long ago, I proclaimed (more like hinted) that the Fleet Foxes album, Helplessness Blues was the album of the year. I did the same for Bon Iver. While I still think these are very good records (I am still a white guy), they have long since been passed by more-immediate-but-just-as-deftly-performed albums by Wild Flag and Stephen Malkmus. Those last two records contain so much more urgency and soul (more on this tomorrow).
“Boring” music may impress me at first, but it doesn’t stay with me for long. I get, well, bored after a while and need something to properly get me to move my feet. Records by Cults, Tune-Yards, and Eleanor Friedberger are not boring. I get up and dance with my three-year-old when these records play. Bon Iver? not so much.
And since this is a music and beer blog, I considered the “boring”-ness of craft beer, because it’s out there. I’ll refrain from naming breweries as I want to support all craft breweries and recognize that they have a certain clientele that enjoy “boring” beer. I will also brace myself for the inevitable backlash from beer critics who, like their counterparts in film and music criticism, will be outraged* at the thought that traditional styles such as British pale ales, ESB’s, American wheat ales, or amber ales could possibly be “boring.” Well, they kinda are. I recognize that a well-made beer in any style can be enjoyable, but “boring” beer just doesn’t do it for me.
To be clear, a “boring” beer isn’t necessarily bad. The run of the mill pale ale at your local brewery is probably a fine brew, but sometimes we want more than fine. Typically, but not always, “boring” beers are your basic styles with little variation in traditional ingredients. They are true to customary recipes and are often executed well. However, they’re just “boring.” I don’t often reach for “boring.” I’ve had it and now I want something else.
Beers that push the limits are beers that won’t qualify as “boring.” Now, that doesn’t mean all these beers have to be imperial or extreme to be considered not “boring.” Non-“boring” beers challenge the palate and wow the drinker with each sip. These beers will make you excited to be a craft beer convert. These beers inspire blog posts and cause one to try their hand at homebrewing. No “boring” beer for me, thankyouverymuch.
What’s interesting to me, is that in both the case of “boring” music and “boring” beer, they both appeal to middle-aged, white guy (says the middle-aged white guy). We like our Boulevard Wheat and our Wilco. We watch baseball and may even be caught with a baseball cap on now and again. We too are “boring.” And there’s nothing wrong with that. However, sometimes (more often for some than others), we need to break free of “boring.” Let’s have a La Folie, listen to some Japandroids, and squeeze into a pair of jeans that fit you for christ’s sake.
As you may have noticed “boring” begins to take on a value for me, making it seem more like the other boring. I cannot lie. “Boring” music and beer… well… bores me. Again, there’s nothing wrong with any of it. I just find “boring” to be boring at some point. There may be moments when “boring” is fine, but I prefer to look for anything but “boring.”
What are your thoughts on “boring?” Am I right on or way off base? Are there good examples out there of “boring?” Is this blog becoming “boring?” As usual, leave your thoughts and/or self-righteous indignation in the comments below.
*Outraged might be a bit too strong. Mildly annoyed? LOL? This blog’s title is too long.
Where Indie and Craft Meet
If you’re just stopping by for the first time, you should know that this blog explores the intersections between indie rock and craft beer. One aspect is simply the fact that we all love rock music and beer. The other aspect is the intersection between indie and craft. For me it’s obvious, but for others, it’s a stretch.
Indie is short for “independent.” To be independent, one must be self-sufficient, free from the tyranny and limitations of corporations more intent on making a buck than putting out a good product. Independent rock music and music labels are considered such as they are not a part of corporate owned music factories. There are only 3-4 of these major labels left, but they are huge. Still, as the majors deal with the handcuffs of corporate profit margins, indie labels are free to let their artists create.
Craft is generally considered a type of skilled work. Historically, craft was judged not only on quality but also quantity. In order to maintain a high level proficiency the production had to remain small. Larger production tends to remove the craft, creating product with increased simplicity and often more defects. When craft is increased, volume tends to shrink, but the quality of the output is pleasurable.
Indie and craft meet in both the music and beer industries. Indie labels also happen to demonstrate a fair amount of craft among its artists. This focus is lost in the craft at the majors as the shift is toward making music that satisfies corporate bottom lines takes precedence. And craft brewers are the most independent of beer industry as they provide a higher quality alternative to the three or so corporate beer producers. One could really call them craft rock or indie beer if it was desired and neither would lose meaning.
Now, don’t get me wrong, both indie rock and craft beer have intentions to make money. How else would they live? The difference between these guys and their corporate counterparts is that they won’t put profit ahead of the craft or their independence. Sure, some indies and crafties have sold their souls to corporations, but they are the exception not the rule. The indie and craft movements are about small scale and high quality. Corporations don’t know how to do this.
And we’ll gladly pay for whatever indie labels and craft breweries are selling despite higher prices. Even during this recession, these labels (as well as the stores who sell them) and breweries have seen steady growth. Craft beer especially is growing at an incredible rate. Even during economically hard times, we’ll find the money to support independent, craft producers of our favorite goods because we know that their products are worth it. This is no truer than it is for indie rock and craft beer.
Despite the success indie/craft producers are enjoying, our corporate overlords still rule the markets, but their share is shrinking. The large, corporate breweries are watching their sales drop as is the industry as a whole. However, craft beer continues to grow. The music industry is suffering as well. Yet, more and more indies are popping up all the time and they continue to put out music. If there’s room for these smaller players in their respective industries, then they must be doing something right.
So, the indie and craft markets are what’s king these days. They may not own high percentages of their markets, but they have found sustainable business methods that feature slow, controlled growth and a focus on the craft. They maintain their independence through their success. This is where they intersect. I think there’s a lot we can learn from indie rock and craft beer. That’s where this blog comes in. If I had time and this was my full-time job, I’d provide you with a lot of statistics. For now, you’ll just have my opinions and vignettes to go on. Here’s to building international coalitions through beer and Pavement and here’s to indie beer and craft rock.
Ten Signs of an Indie Rock Label
One feature of this blog has been to use beer/ indie rock to inspire posts about the other. Today’s post does that. This time, I read this post at Boak & Bailey’s Beer Blog detailing ten signs of a craft brewery. They explain their reasoning for such a list:
We were pondering the hard-to-define, much-loathed term “craft beer” again this morning and decided that, rather than a firm definition, it makes much more sense to think about indicators or signs.
The following list, off the top of our head, is not exhaustive and, clearly, we’re not suggesting that any brewery needs to be able to tick all ten to be considered to be making craft beer. Equally, some of these apply to breweries that, instinctively, we wouldn’t consider craft brewers.
Since I have often made the connection between the craft breweries and indie labels (beers are the equivalent of bands on a roster; vintages the equivalent of albums), it seemed to me that a post detailing the ten signs of an indie label might also have some merit.
Like, B&B’s list, mine is off the top of my head and will only be enriched by your comments.
1. Vinyl is among the formats offered and is often their best-seller. Vinyl is saving the record industry, IMHO. It’s not doing anything for major labels, but it benefits high quality music for niche markets. Plus, with the addition of a “free” digital download, record collectors like myself can have their cake and eat it too. Extra bonus points for labels who also sell cassette tapes.
2. Their releases are found in real, mom-and-pop record stores. Sometimes, depending on distribution deals, one can find an indie release at Target or Best Buy, but this is the exception, not the rule. I know that I can pretty much find a label’s entire roster in small, independent record stores. In fact, record stores depend on indie releases to keep their inventory unique and attractive to the discerning indie music fan just as much as the labels depend on the stores to sell their product.
3. There is a unifying aesthetic to their releases’ artwork and/or music. Whether it’s the fact that labels have limited resources for graphic design or they got into music because of one particular genre, indie labels tend to be more focused aesthetically than their corporate brethren. There’s no better example than early Sub Pop. Before it was known as grunge, the music from Sub Pop just sounded like Sub Pop. And the graphic design, featuring blurry, black-and-white images of flailing guitarists with simple, block lettering denoting the band’s name, was as identifiable as the music.
4. Indie labels are connected to the underground scenes of the 80’s or 90’s in some way. The former underground rockers of our youth eventually turned the business side of the scene, opening avenues for other artists or simply giving them their own outlet for distribution. These legends eventually grew weary of the road and recording studios, often choosing to sit at a desk while younger bands carried the torch. The indie label has a clear lineage that begins in the 80’s hardcore scene. Those same characters play a large role in today’s scene as well.
5. There are actual t-shirts and other memorabilia featuring the label. No one wears an “Epic” or “Warner Bros.” t-shirt. I have yet to see a punk with a pin reading “Sony” or “Atlantic” next to his SST pin. In some arenas, it’s cool to promote your corporate overlords/sponsors, but not with music. Sure, kids wear t-shirts for their bands regardless of label, but only those who follow indie bands will wear a K Records or Merge t-shirt.
6. They are active on social media. Maybe this is just because I only follow indie labels, but a quick search of labels on Facebook and Twitter reveals that indies are way more active and engaging than major labels. I have had actual conversations on Twitter with various indie labels. I also depend on regular updates via Facebook for a label’s release schedules and/or roster tour dates. Because they are small companies with a personal touch, indies thrive at social marketing.
7. There is often one major money-making band on an indie label’s roster that keeps them afloat. Merge has Arcade Fire. Pavement is still listed on Matador’s roster. Sub Pop had Nirvana, then Iron & Wine, then Band of Horses, then Fleet Foxes…etc. Jagjaguar features Bon Iver. There are even better examples out there, but the fact remains that depend on bands who pull in major label-like dollars keep indies afloat. The good part about these bands is that they make enough money to resist overtures made by major labels and they insure that their indie labels will continue to put out great music by lesser-known artists because the profits keep their books in the black…or close to it.
8. There is at least one artist on the roster that is mostly there for street cred or simply out of loyalty. The best indie label rosters resemble the major label rosters of the ’70’s. In those days, someone like Bruce Springsteen could struggle for three albums before finally breaking big. On the other end of the spectrum, older artists find their final resting place on labels that love and adore them to the point that they’ll continue releasing their work despite diminishing sales. Dinosaur Jr still has a label because Jagjaguar gives them their due. A guy like Eric Bachman has time to hone his craft because of the credibility he built during his years with Archers of Loaf. Indie labels are loyal and they make sure good music gets heard, even if it doesn’t appeal to everyone.
9. Bands on their labels may define or establish their own genres and sub-genres with each release. I’ve mentioned Sub Pop before, but they are yet again another great example. There was grunge, then they seemed to single-handedly bring back folk music in more recent years. Other labels that may feature specific genres might include Fat Possum, De Stijl, Astralwerks, Jade Tree, etc.
10. Artists are seen as…well…artists or people as opposed to commodities or assets at a corporate label. Often, people at an indie label see each other and their artists as co-workers or clients at least. The focus is not on the profit they can make from a band. Rather, it’s about getting the music to fans. And the deals artists often sign with indies are so much more fair than what major labels will provide. Bands get a bigger piece of the pie, better representing the part they play in the final product. Sometimes, this can be for a loss or minimal profit, but it seems to pay off in the end as most indie labels are doing well at the moment despite the industry’s struggles.
What did I miss? What would you add to this list? Do you have examples that disprove my assertions or examples that add further proof? Contribute below.
On Moderation
Moderation is tough. A truer White Whine™ has never been uttered. Moderation gets me every time. When I was young, my struggles with moderation affected my bank account. Now that I’m older, it’s wreaking havoc on my health.
No, don’t worry about me. I am not announcing major health problems or anything. However, if I don’t change some habits, my health will become an issue in the next ten or so years. I weigh 45 more pounds than I did as a senior in high school. Granted, I was pretty skinny, but that’s a lot of weight. I wouldn’t mind losing half of that. 20-25 pounds over my high school weight wouldn’t be so bad.
So, I’ve been on this diet of sorts. No breads, flour, sugar, fruit, etc. At every meal I have beans, meat, and vegetables. I’m supposed to drink a ton of water as well. And, of course, I’ve had to cut way back on beer.
My wife keeps telling me that the diet leaves room for one day a week of decadence, but I can’t only have beer once a week. Instead, what I’ve done is cut back to like one or two during the week and a couple two nights every weekend. So, a little moderation will have to do. It’s worked, in fact, to the tune of eight pounds lost in two weeks. (Plus, I’ve been running fairly consistently.)
The key has been moderation. The key for maintaining whatever weight I finally level off at will also be primarily due to moderation.
Moderation is a tough thing to maintain. It’s easy to over-indulge, especially with things like beer and music. However, if you want to enjoy such indulgences for a long time, you have to take it easy.
With beer, I’ve got to get back to the quality over quantity factor. Of course, my large quantities also featured a decent amount of quality, but that’s not any better for my health. So, the focus has been on enjoying one beer at a time, letting it marinade a bit, and being satisfied with just the one.
With music, it’s just a matter of picking my spots. I can’t go to every show, but I can go to the ones I really want to see or the ones that don’t interfere with family time. I’ve seen a lot of shows over the years and I don’t need to see every one that passes through town. My LP purchases haven’t really slowed down. Although, I haven’t bought an album in a couple of weeks as nothing has really been released lately that piques my interest.
More moderation means enjoying what you have and not always longing for the next big thing. I’ve talked a lot with other beer nerds who hate the constant arms race that is beer purchasing these days. It seems every major release means there will be an inevitable race to the stores. Of course, it doesn’t help that some like to clear the shelves to feed their greed, but I’ll live. There will be other beers. There will be other shows and more records. Moderation is probably the way to go to insure that I still enjoy my hobbies.
My Response to Drinkify
Carrie Wade thinks she’s really funny, so funny that she posted this atrocity on my Facebook wall. Really? We’re supposed to believe that Pavement pairs well with 1 PBR? What, because they’re like hipster slackers of something? Eff that.
I’m taking it upon myself to pair some bands with beers that make sense. Comment freely or suggest your own pairings. The wrong that has been created on Drinkify must be stopped. I mean, we’re trying to build coalitions up in this joint.
Pavement – Saison
I considered choosing one beer for Pavement but settled on a style instead. With a band like Pavement, it depends on the record. Crooked Rain, Crooked Rain might require the smooth quirkiness of a Boulevard Tank 7, but Wowee Zowee is a Boulevard Saison Brett all the way. The Saison is one of the more versatile styles out there. These beers can be loved or hated, depending on one’s mood, but they are generally appreciated. The range of flavors (earthy to citrusy to sour to bitter) is only equaled by the range of Pavement’s discography. Also of note is that Stephen Malkmus represents the entirety of the Stillwater lineup of artisanal Saisons.
Wilco – Schlafly American Pale Ale
What goes better with dad rock better than a slightly hoppier pale ale from the St. Louis area? Wilco, of course. This easy-drinking lesson in hoppiness is the perfect beer for the dad who wants to still show that he’s cool without drinking anything too bitter or high in alcohol. I mean, he does have to drive home. I also considered Three Floyds’ Alpha King, but figured it only paired with Wilco’s more obtuse work like A Ghost Is Born.
Fiery Furnaces – New Belgium La Folie
They’re both difficult to love sometimes, but if you put forth the effort to find what’s good, it’s totally worth it. Because of this, both have the most loyal of fans who must learn to ignore all the judgmental stares from their peers for choosing to like something so difficult. I considered several more artsy, more difficult bands (Joan of Arc, Beat Happening) along with other Flanders red ales (Duchesse De Bourgogne, New Garus Wisconsin Belgian Red). The pairing just seems right.
Guided By Voices – Bell’s Two-Hearted Ale
I realize that Bob Pollard drinks Bud, not sissy craft beers, but the classic IPA is perfect for macro-arena rock from the midwest. I was torn on several bands and IPA’s, but I settled on two classics. The best part of the IPA are all the variations it’s birthed along with other possible pairings. Dinosaur Jr ruins your eardrums like a Stone Ruination IPA (which is really an imperial IPA) ruins your tastebuds. Other Stone varieties also pair well with similar indie outfits such as Cali-Belgique (Yuck) or the 15th Anniversary Escondidian Imperial Black IPA (Chavez). Of course, there’s always old standbys like a Modus Hoperandi (Superchunk) or Lagunitas Hop Stoopid (Archers of Loaf)…I could go on and on, but there are other beers and bands to pair.
Where was I?
Sonic Youth – Founders Canadian Breakfast Stout
There is a ton going on in a Sonic Youth record. Layers of rebuilt guitars and alternate tunings upon alternate tunings create a cacophony that’s all their own. And over the years, SY has grown into almost a completely different band. While they sound nothing like themselves 30 years ago, only they could have evolved the way they have. This is much like Canadian Breakfast Stout, the much hyped and oft-cited imperial stout of the moment. At the moment, there’s a lot of noise in that beer. The suspicion is that it will undergo a Sonic Youth-like metamorphosis while in the bottle that sits in my cellar. I’ve had a taste, but I can’t wait to have another.
Sufjan Stevens – He-Brew Genesis 15:15
Speaking of having a lot going on, this musician and beer pack a whole lota flavor in relatively small packages. Sufjan Stevens brings one layered opus after another from his home in Brookly, much like the brewers at Schmaltz/He’Brew. The religious imagery and connotations are undeniable…This is a pairing made in heaven.
Wild Flag – Avery/Russian River Collaboration not Litigation
The members of Wild Flag were never in any danger of suing one another, but they have collaborated to create one the year’s best records. The Avery/Russian River collab is nearly as caustic and full of riot grrrl power as Wild Flag is. Plus, at nearly, 9% ABV, it makes you as woozy as one might feel after a Carrie Brownstein windmill combined with a Mary Timony classic rock non-riff. Confused? You should be.
I think I have more, but it will take some time to sort them out. In the meantime, what are your favorite beer/music pairings? Do you like any of the pairings I suggested above? Do you have a better pairing for the bands and beers I listed here? As usual, leave some comments.
The Oxford Companion to Beer Controversy and What it Means to the Rest of Us
I’ve been watching the debate over the Oxford Companion to Beer from a distance. It seems that the largest single document of beer history and general information is wrought with errors. Some are historical inaccuracies while others are simply internal errors that should have been avoided. The book was heralded as major achievement in beer scholarship before it was released. Now, it’s being ridiculed all over the beer blogosphere.
There are a few places one can look for clarification, if you’re interested. Stan at Appellation Beer has started some interesting conversations on the topic, as usual. The resulting comments to Stan’s posts are always insightful. He has a knack of attracting such discourse. A new favorite of mine is Martyn Cornell’s Zythophile where some of the controversy has originated. (FWIW, Zythophile is an impressive blog documenting beer’s history in great detail by Cornell, a well-respected and accomplished beer historian/expert.) However, the place to go for OCB controversy headquarters is this wiki. That’s where you’ll find every mistake as it’s revealed in addition to a rebuttal from author/editor Garrett Oliver and links to most of the important criticisms.
Regardless, it’s a hot topic throughout the beer community. (That’s right, I wrote “community.”) I’ve attempted to question the critiques and have been largely shot down as my enjoyment of beer is not nearly as dependant on beer’s history as it is for others. That’s fine. Beer history isn’t for everyone. Still, my main point is to not throw out the baby with the bath water. The OCB is an achievement with or without historical and editorial errors. Apparently, the technical articles (~400 pages worth) are impressive enough to warrant a read. Others disagree.
I’m not nearly as passionate about the history of beer as some seem to be. So, I had to think of something where the history does matter to me. To some degree, that would be indie rock. How would I feel if the Oxford Companion to Indie Rock was filled with historical inaccuracy and lazy editorial work?
Luckily, Michael Azerrad already took a stab at this with his seminal work Our Band Could Be Your Life. Granted, Azerrad only covered the independent years of thirteen bands, but they were probably the most important bands to indie’s history. As far as I can tell, his book contains no significant errors. I’ve read a ton about all of these bands (some of them whole books of their own) and I never noticed a problem. I guess that’s what the beer historian community wants as well. I get that.
Another book I’d add to the OCIR would be John Sellers’ excellent Perfect from Now On: How Indie Rock Saved My Life. This book’s detailed history of indie rock is told only from the perspective of the author. However, it covers a wider range of bands and sets a timeline for indie’s trajectory, culminating with some fantastic stories about Guided By Voices. Sure, it’s a memoir, but it’s an essential read for understanding indie rock.
Garrett Oliver of Brooklyn Brewery fame as well as the author of several great beer books of his own was the editor for OCB. The indie rock equivalent has to be Sonic Youth’s Thurston Moore. Moore has not only lived most of indie rock’s history, he’s curated it in one way or another, hence the six degrees of Thurston Moore. Accuracy would be assured with Moore at the helm.
When I consider the above books and Moore, I cannot fathom errors such as the ones people are finding in the OCB. If an OCIR revealed as many errors that I could identify, I’d be highly disappointed. I don’t know that I’d be angry, but I could imagine Chuck Klosterman being upset for being left out and not able to help fix rather avoidable problems. So, this helps me see the critics side of things.
All that said, I will wait for the second edition of the Oxford Companion to Beer as long as Oliver and his contributors take each criticism and error seriously. You all should probably do the same as it’s an expensive book. Otherwise, little will change, leaving us with a frustratingly flawed book. In the meantime, I’ll stay out of the debate (aside from this one post) and consider some other books in the meantime. Retromania anyone?
Building International Coalitions Through Beer and Pavement is not easy
Sorry about not posting on Monday. It seems I’ve had a combination of no time, little sleep, a hangover, and no inspiration to write. It doesn’t mean I’ve quit writing posts, but I will miss a day occasionally. See Monday’s post.
It should be known that this is not an easy gig. I purposely started this blog to write regular commentary on my two favorite things (that are not people). Additionally, I wanted to do more than the paragraph with a link kinds of posts I see on so many blogs. I want my posts to be rich and complex or at least something that takes you more than a couple of minutes to skim. For the most part, I feel I’ve been successful with this goal.
I’ve also made a concerted effort to post three times a week. Since I do write longer posts than the average blogger, 5-7 posts a week is too much. Three feels about right. Still, even three has been a challenge. The Monday top-5 lists seem to be sputtering. It will be back, however, next week and it will be better than ever.
As the title of this post suggest, building international coalitions through beer and Pavement is not easy. It’s a stretch as – let’s be honest. Beer and indie rock don’t really matter that much. Also, I’m working really hard to get beer nerds to understand indie rockers and vice versa. This is harder than expected as I know a lot of beer enthusiasts who like indie rock and even a few indie rockers who will put down their PBR in favor of a Stone IPA now and again. Still, beer enthusiasts just don’t get my record collection or why I would spend time in a place called “The Hairhole” with a bunch of underage kids with a load BYOB. Conversely, it’s hard to convince indie fans that spending $10 on a bomber is a good investment.
I think I understand the beer nerd’s hesitation to get indie rock. Beer nerds tend to be somewhat mainstream. They have 9-5 jobs, a mortgage, and a family. The time and resources needed to keep up with music is exhausting. Indie rock is especially grueling as there are so many bands out there with new releases coming out weekly. Mainstream music is easier as you can hear it on the radio or only have to buy a CD every other month. Drinking a beer takes no time and can relieve the stresses of mainstream life without waking the kids.
The indie geek is more difficult to understand as his disposable income is similar to that of the craft beer drinker. However, the bars the indie fan frequents tend to serve shitty beer. They get used to the stuff and enjoy the fact that they can still fit into their skinny jeans. It’s way cooler to throw back 5-10 Buds at a Guided By Voices show than to sip from a snifter as rowdy concert-goers ram into you.
I know both of these perspectives. Of course, some may argue I’m only a gentleman dabbler and they would be correct. However, I have a pretty long history following indie rock. Although my craft beer obsession has been around for a shorter time, I’ve always preferred more unique beers and now have the resources to satisfy that interest. So, I get the hesitation on both sides. I also get how these are two great tastes that taste great together.
So, I will continue to build coalitions. Someday, the worlds of craft beer and indie rock will merge to become one unstoppable force. Until that day, I will be a lone soldier in this battle to Build International Coalitions Through Beer and Pavement.
Occupied
So, I was having trouble coming up with something to write. It seems that I’ve been wrapped up in all the #OccupyWallStreet drama. To satisfy this occupation of my attention, I could go to our own Occupy COMO demonstration, but I figured I’d blog about it instead. (It takes all kinds to make a social movement successful.)
What does a blog about some guys hobbies have to say about the Occupy series of protests? Plenty. So, I’ll keep it brief.
http://www.youtube.com/watch?v=cvLm01ruV00
You see, craft breweries and indie labels are occupying their industries in much the same way those protesters in NYC are doing. They’ve held a spot in their respective industries that their corporate overlords don’t like. It makes corporations nervous to see the little guys one-up them. Craft breweries and indie labels represent a portion of their market they can’t have. They represent defiance. Corporations don’t handle defiance very well.
The reason these breweries and labels can take on corporate behemoths is because what they do comes from people. Despite what some might suggest, corporations are not people. What they do is for profit, to crush the competition, and to dominate their sector. And it’s okay not to see corporations as people. They don’t see us that way. We’re just numbers, demographics, and consumers. Craft brewing is about the people. Most breweries started with a guy or gal brewing some beer in a garage. Similarly, indie labels started with people wanting to get their music out into the world. Both have goals of making the world better, more enjoyable through their craft. Sure, a profit that allows them some financial security and the ability to take care of their people is part of it, but profit doesn’t come before quality for these entities.
Craft breweries are taking back the beer market, a market that used to belong to the people and not faceless corporations. There used to be breweries in every city. Then, Prohibition happened. Some breweries closed; others diversified. Eventually, a few larger breweries bought up all the local breweries. Eventually, beer went corporate. Then, certain developments happened. Jimmy Carter helped make it legal for folks to brew at home. A few folks traveled through Europe, discovering that beer could vary in flavor, appearance, and style. In the midst of all this, Fritz Maytag was making some things happen with the old Steam Beer Brewing Company. Three decades later, craft beer is slowly taking back beer for the people.
Indie rock has had a similar timeline and method. Punk rock showed kids they could make something people wanted to hear. Networks and labels popped up throughout the 80’s, making it possible for these self-taught, self-promoted, and self-recorded artists to make a go at a career. This movement gave independent artists scaffolding for gaining the solid foothold in the industry, again, returning a share of the market to the people.
Like the Occupy movement, craft beer and indie rock have taken a long and arduous path in taking on large corporations. The occupiers in New York and elsewhere are just getting started. Their fight is a noble one, but they are not alone. People all over this country are taking back some control from corporations. Whether that be in the form of establishing their own place in a corporate-dominated market or just a fight for an economic and political system that actually works for the people, we are all occupying space that corporations can’t have back.
Now, I recognize that this is just a post about beer and music. The actual occupiers are doing important work. And there’s no better talking head on the internet than Jay Smooth to put things into perspective…
Beer and Pavement 
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