By Kris McDowell
For the Oregon Beer Growler
Whether choosing the life of a brewer or the life of a musician, it’s a choice that means committing to a challenging career that often requires long hours. Those who succeed are the ones who combine skill and commitment to crafting a product that they not only can be proud of, but their fans can consume.
John Harris, an icon in Oregon craft brewing, has managed to balance his primary career as a brewer with a love of music by sitting in as a guest for bands with both a local and national reach. As a kid, John said he was "always banging on stuff," which led to banging on things in a more musical manner — playing the drums in junior high band. Between band and private lessons, he learned to read music and keep rhythm, skills that he would draw upon years later. Attending a concert in 1985 he saw Billy Hults, a washboard player who, according to his posthumous induction into the Oregon Music Hall of Fame, "played with about everyone in Portland in the ‘70s and ‘80s." John thought what he was doing with the washboard looked fun and he proceeded to pick one up for himself at a thrift store.
When asked how he learned to play it, John replied "You just kind of do it." No doubt his background in playing the drums helped him figure it out, and for a couple of years he was officially part of a band called the Hardly Boys. Being a musician generally isn't a high-paying gig and since washboard players don't hold the cache that a lead guitarist or vocalist does, there’s a greater likelihood that they won't be paid often, so when he was kicked out of the band it wasn’t the blow it could have been. At the time, John was beginning a career in brewing, something that would be at least a bit more lucrative than playing the washboard.
In 1986, John had a roommate that saw a brewer position advertised in Willamette Week by McMenamins Hillsdale Brewery & Public House and encouraged him to apply for what he felt should be "his job." John had done some homebrewing and read up as much as he was able to on it, which didn’t amount to much formal literature at the time. Feeling light on qualifications, he was somewhat surprised when McMenamins offered him the position. His boss proclaimed his chances of success directly from the get-go: he would either get the flow of brewing or not. As it turned out, John got it.
Two years later, with some professional brewing experience under his belt, he once again saw an ad, this time with Deschutes Brewery in Bend. They were looking for someone with two years of experience, which was considered a lot at that time. John knew that this was his job to go after and he was in a position to be able to relocate to Bend, which is what he proceeded to do after accepting the job.
When he came on board at Deschutes, owner Gary Fish taught him to brew three year-round offerings: a golden ale, a bitter and a porter along with seasonal beers. John's first seasonal was a wheat, followed by what is now a Deschutes staple — Mirror Pond. Sales of it quickly outpaced the bitter 3-to-1. But even with numbers to prove its popularity, Gary resisted replacing the bitter with Mirror Pond. He finally gave in a bit by bringing it on as a nine-month seasonal.
While John and his beers were successful at Deschutes, he said living in Bend wasn't much fun for someone who was an outsider. After four years, an opportunity with Full Sail Brewing came along that would allow John (and his now-wife) to return to Portland. John had known the Full Sail guys before they started looking for someone to head up their Portland location and both parties were comfortable with the autonomy John would have to run Portland operations.
Compared to the amount of beer the Bend facility turned out, the Portland location’s annual maximum capacity of 5,000 barrels was small, but it allowed John to continue to develop new beers for the Full Sail Brewmasters Reserve series. It was there that he also got the chance to learn more about the business of having a brewery, which included traveling with distributors and selling what he was making. From the beginning, John had viewed Full Sail as a good place to work and it was a solid job for a guy with a wife and two young kids. John was loyal to his job and ended up spending 20 years at Full Sail.
Throughout his career as a brewer, John continued to nourish his love of music, attending concerts and getting to know bands. That interest garnered invitations to play a lot with local bands Crawdads of Pure Love (based in Eugene), Ed and The Boats, and The Buds of May. He has even played with national bands such as The Mother Truckers, Zero, and Kingfish, fitting in appearances around their touring schedules and his brewing schedule -- a brewing schedule that changed in 2012 when he left Full Sail.
Some might have considered a 26-year run as a brewer a good one, especially when taking into consideration that he created recipes for Mirror Pond, Black Butte, Jubelale and Obsidian, among other things. Perhaps this would be when John started to think about spending his time doing something else. In his own way, John was. He was brewing up a plan for opening his own place and applying what he’d learned on both the brewing and business sides at Full Sail. In 2013 he opened Ecliptic Brewing, a brewpub whose name and the names of the beer, along with its interior design, speak to another love of John's: astronomy. When you have your own place, you set the rules -- and at Ecliptic, John has also brought music into the mix with a regular schedule of live performances. One band in particular, Off the Cuff, plays often -- with John shifting from brewer/owner to washboard player when he can.
Beyond the regular schedule of live music at Ecliptic, John has put together an event that will take place there Thursday, June 16th. Brewers and Their Bands will feature five brewers and bands they play with: John and Off the Cuff, The Moonshine with Max Skewes of Burnside Brewing, Indiana Tex Mex with Matt Swihart of Double Mountain Brewery, and Left Coast Convicts with Shaun Kalis of Ruse Brewing. The music will start around 5:30 p.m. and it will surely be an evening filled with great music, great beer and great people whose talents go beyond the brew kettle.
By Anthony St. Clair
For the Oregon Beer Growler
In today’s fast-paced industry, it’s easy to forget that the modern craft beer revolution hasn’t even hit middle age yet. At Oregon State University, the Oregon Hops and Brewing Archives (OHBA), the first brewing archive in the U.S., saves and shares the story of hop production and the craft brewing movement in Oregon.
“We do this by collecting historical materials, conducting oral histories, sharing best practices for maintaining records and assisting with historical research,” explains Tiah Edmunson-Morton, main curator for OHBA (she also blogs about her work at thebrewstorian.tumblr.com). “In line with OSU's land-grant mission, this archive focuses on local agricultural, business and heritage communities, connecting OSU to the much larger story of brewing and hop growing in our region.”
Located on the fifth floor of The Valley Library at OSU, OHBA began in summer 2013 as part of the OSU Libraries & Press’ Special Collections and Archives Research Center. Edmunson-Morton works closely with staff in OSU Special Collections and Archives, the digital production unit and library administration. A student worker aids with research and a graphic design student recently designed a beer history board game.
Edmunson-Morton has collected oral histories from notable figures such as McMenamins’ historian Tim Hills along with beer writers John Foyston and the late Fred Eckhardt. Current projects include scanning brew sheets for the first 2,000 brews at McMenamins Hillsdale, Cornelius Pass Roadhouse and Fulton breweries. Portland Brewing’s Fred Bowman granted access to news clippings about the early years of Portland Brewing, as well as photos showing the remodel of the building at the original Northwest Flanders Street location in advance of the brewery’s opening in 1986. OHBA is also collaborating with the Multnomah County Library on “Portland Brew History,” a digital exhibit featuring materials from 15 breweries.
“I feel so lucky to be working on something so fun and culturally/scientifically significant,” says Edmunson-Morton.
University, Industry Are Key Partners
It’s only natural that OHBA is part of OSU. The Corvallis public university is renowned for its hops breeding, brewing research and Fermentation Science program. Edmunson-Morton works closely with all of them, as well as the beer and cider sessions staff in Professional and Continuing Education to discover and procure new materials and stories.
In addition to oral histories with hop growers, OHBA has records from the Oregon Hop Growers Association and the Hop Research Council and is reviewing hops industry photos and research reports from the 1920s-1950s. Edmunson-Morton has collaborated with the Benton County Historical Society to convert tapes of oral histories with pickers and growers from the early 1980s. “We also scanned a set of questionnaires from that same oral history project,” she says. “That give a really interesting insight into the conditions in the fields in the 1930s.”
OHBA also sources documents and histories through newspapers and other periodicals, such as Zymurgy and The Amateur Brewer, as well as newspapers. “I’d like to continue to collect research files, pictures and publications from beer writers,” says Edmunson-Morton. “We are also looking at expanding the archive to more actively highlight and collect materials related to barley. Who knows? This may lead to a name change if we include yeast too.”
The Art of Beer
Rep. Peter DeFazio and OSU President Ed Ray were among the first to come to OHBA’s opening day for “The Art of Beer: What’s on the Outside.” Celebrating the work of brewers and artists in Oregon through beer labels, the public walk-through exhibition was planned to be open during April and May 2015, but instead closed at the end of July.
With items dating back to the early 1980s, The Art of Beer showed that labels are more than just marketing or advertising. “While the range of art on labels and coasters itself was important,” says Edmunson-Morton, “I also wanted to look at identity, branding, the process of creating art and the simple artistry that goes into … such a small bit of visual real estate.”
Beer labels are a snapshot, she explains: telling customers about the company, the taste or style of beer, the experience you are likely to have. “They are also connecting with consumers as artists, creating something beautiful and evocative,” says Edmunson-Morton. “When you saw the bottles on store shelves or labels on tap handles you were picking up clues about the beer, the brewery, etc. But when you saw those labels enlarged on a wall, they turned into something much more: art.”
However, a sort of meta-exhibition was also at work. Archivists and curators “make choices about what you see, labeling items to categorize them, grouping them with other items, and asking the viewer to consider and examine them in a constructed way,” says Edmunson-Morton. “Advertisers work in the same way by inviting you to draw a quick meaning and conclusions based on what is on the outside, and then asking you to make a decision and interpretation about what’s inside.”
A Community-Based Archive
While of interest to brewing hobbyists, professionals and academics, the archive is also part of the public’s awareness about the history of a vibrant modern industry. “People don't know how interesting and important what they have is, or think the posters they produced three years ago aren't historic,” says Edmunson-Morton. “With an archive like this, three years ago is certainly history!”
OHBA is actively asking the public, brewing industry, and homebrewing community to contribute new materials, such as photographs, news clippings, publications, books, recipes, coasters, taplists, menus, and/or any records for breweries and hop growing operations.
“The way an archive grows is by adding materials, but the way we save a history is by sharing it and telling its story,” says Edmunson-Morton. “I want this to be a community-based archive, which means that we collect materials that tell the story of the cultural and industrial communities, but also the story by the communities. It's not just my story to tell.”
Questions, donations and contributions:
Tiah Edmunson-Morton, OHBA Curator
541-737-7387 / firstname.lastname@example.org
Visit the Archives:
Special Collections and Archives Research Center, Valley Library Fifth Floor, Oregon State University
McMenamins recently reached a milestone by producing 1 million kegs in July. The Pacific Northwest institution is well-loved because of its unique properties. You can visit all 53 in Oregon and Washington, including seven historic hotels and eight theater pubs, during your travels. Photo by AJ McGarry
By Anthony St. Clair
For the Oregon Beer Growler
On July 2, McMenamins began Oregon Craft Beer Month with a unique milestone: one million kegs. The millionth keg, the raspberry ale Ruby, was racked at 11:39 a.m. at the McMenamins Queen Anne pub in Seattle.
“It is an interesting milestone for us, this whole ‘Keg Million’ business,” says John Richen, Chief Brewery Administrator for McMenamins. “It was crazy. It was daunting. And ultimately, just a huge amount of fun.” But he keeps perspective: “It is a symbolic milestone. There isn’t anything substantially different about keg one million from keg nine-hundred-ninety-nine-thousand, other than the gravitas of what it stands for to folks inside our brewing ranks.”
The Oregon and Washington chain of more than 50 pubs, breweries and hotels began brewing in 1985, initially releasing 5.5 kegs of Hillsdale Ale at the Hillsdale Brewery & Public House in Southwest Portland. The first year of production reached 83 barrels, or 165 kegs. Five years later in 1990, production had leaped to 12,813 barrels (25,625 kegs). By the turn of the century, McMenamins produced 173,427 barrels in 2000, or 346,853 kegs — more than 30 percent toward one million.
Five years ago, in 2010, production was more than 75 percent of the way: 395,692 barrels, or 791,385 kegs. Now, as of July 15, McMenamins has officially brewed 1,001,806 kegs. While 24 percent of that was produced at the Edgefield Brewery in Troutdale, 76 percent was brewed at “small house” breweries, such as High Street in Eugene, Lighthouse in Lincoln City and Spar in Olympia, Wash.
Of the one million kegs, 89 percent were kegged in Oregon and 11 percent were kegged in Washington. But not one used “kegging robots, automated golden gate fillers, racking line programmed replicants or Amazon drones,” says Richen. “We filled them all ‘the hard way.’”
Early Experiments, Today’s Favorites & Yesterday’s Disasters
Hillsdale Ale gave rise to other standard McMenamins beers enjoyed today, such as Terminator Stout, Hammerhead and Ruby. Originally brewed as extract-based recipes, the ales were switched to all-grain malt bills starting in March 1987. Early experimentation set a precedent that continues — but the brewers are glad that there have been equipment improvements.
“McMenamins pioneer brewers were a rugged breed,” explains Richen. “The brewers’ day started by driving to F.H. Steinbart to pick up their bags of malt. They would then drive to the Barley Mill Pub to crush the grain through the functional malt mill, which serves as the pub’s namesake. After cleaning up the mess and loading the resulting grist back into their vehicles, they would return to the Hillsdale to begin the brewing process. There was great rejoicing when a simple plate mill was purchased and installed in the brewery.”
In 1985 McMenamins released their first fruit beer, named simply Batch No. 2 and made with blackberries growing in the parking lot. The first Terminator Stout (Brew No. 12) was brewed Nov. 19, 1985 and the first Hammerhead (Brew No. 37) was brewed Jan. 25, 1986.
While first year production focused on original standards — Hillsdale Ale, Terminator Stout, Crystal Ale, Hammerhead and Barley Mill Ale — by November 1986 the fledgling brew operation had produced 40 batches of fruit beers between the Hillsdale, Cornelius Pass and Lighthouse breweries. Early fruit batches also included Brew No. 67, a raspberry ale brewed on March 21, 1986.
Today we know it as Ruby.
Despite the regional popularity of bitter beers such as IPAs, Ruby and Hammerhead remain two of the company’s most popular beers, with Ruby alone comprising 21 percent of total output.
Not every experiment has paid off, though.
“We’ve had great success with incorporating fruit, coffee and spices into styles both traditional and untraditional,” says Richen. “Forays into the worlds of garlic, Mars Bars, Cherry Garcia Ice Cream and wormwood were not as successful, which, to be honest, is a tremendous understatement. They were unmitigated disasters.”
With 24 breweries in two states producing more than 70 batches of beer each week, it’s no small challenge to balance brand consistency with freedom to experiment.
“There is so much that has been learned, much of it the hard way,” says Rob Vallance, general manager of McMenamins Breweries. “Most importantly is the big-picture concept of how every facet of the process affects the beer that goes into every glass. You have to be ever-vigilant.”
However, Vallance notes that McMenamins brewers have an “unprecedented amount of freedom with recipe formulation.” Instead of locking down specifications across all the breweries, some beers — such as a standard McMenamins IPA — actually have no official standard recipe.
“Brewers have different philosophies and skill sets in our system,” he explains. “With the standard and seasonal recipes, it is very difficult to create consistency across so many breweries across such long distances with so many hands on so many paddles.”
This creative freedom also reflects simple practicality. “Water tables can be so different,” says Vallance. “Each brewery is its own unique ecosystem. These are neighborhood breweries. We have to accept that our methods will breed some inconsistencies, and it has always been, and always will be, our most daunting challenge to try and minimize those inconsistencies. The goal is always production of a quality end product with a nod to the stamps the various regional factors place on a beer.”
Creative license, though, does have limits. “We’ll let our brewers try pretty much anything,” says Vallance. “Once anyway.”
The Path to 2 Million
“Having worked in this craft beer business since 1987,” says Richen, “I was unexpectedly moved seeing the listing of the 195 names of folks who put the beer into those million kegs since 1985, many of them in batches with a number of kegs you could count with the fingers on two hands. I pictured faces of people I hadn’t seen or even thought of in years.”
Now as they look ahead, Vallance and Richen wonder what the path to 2 million kegs looks like.
“It certainly won’t take us 30 more years,” says Vallance. “Probably between 15 and 20.”
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