The Most European Beer, Probably?

Nationalism and Beer at the Heart of Europe

Geronimus Hatt rented a cellar and brewed his first beer in Zür Kanone in Strasbourg in 1664. At the time, Strasbourg was located in the Holy Roman Empire, which Voltaire famously quipped wasn’t holy, wasn’t Roman and wasn’t an Empire. It was one of several proudly independent Free Imperial Cities, a number of which were then found in the Rhineland. This is one of history’s great frontlines and particularly so in Early Modern Europe where it featured frequently in the long running wars between anxious French monarchs and the Hapsburgs whose marital strategy of JVs had effectively encircled them.

In Hatt’s time, the wars were going in favour of the French, where under the leadership of its great Cardinals and their protégé, Louis XIV, France was gradually edging eastwards into the upper and lower Rhine with the objective of consolidating its borders. The long years of war had been good for the Alsatian beer business and armies from all over Europe had visited Strasbourg for a spot of R&R: ravage and refreshment.

 By the 1660s, there were now over 20 breweries. But as Hatt, the cooper’s son who’d married the baker’s daughter, built his business, the French were getting ever closer and in 1681 The Sun King’s army marched into Strasbourg. Overnight Herr Hatt became Monsieur Jérôme Hatt, the first of a long line of brewers to bear the name and build the business throughout France.

By the nineteenth century, the growing population in French cities and the coming of the railroads which could transport barrels of beer into the heart of Paris boulevards provided the opportunity for the Hatt family to further expand production and they opened a new brewery in the Faubourg Kronenbourg, which would of course later impact on how the beer is known today.

But meanwhile there remained some major unfinished business in the Rhineland, and in 1871, the Prussian army returned to Strasbourg, and this time it was not for beer tourism. They arrived again in 1914, and just in case a third time might be luckier, they came again in 1940. It wasn’t until 1945 that the Alsace question was finally(?) answered. But by then, Hatt’s beer was perhaps just un peu Frallemand.

It was just after the end of Second World War that another Jérôme Hatt made Kronenbourg (with a K, an interwar Frenchified Cronenbourg was dropped) the main brand focus of the concern, and with its familiar and ubiquitous Rot and Wiss label, it quickly became one of the leading beers of France. After its merger with Kanterbräu in 1986, Brasseries Kronenbourg looked safely dominant but then a familiar pattern in the narrative re-appeared. BSN, wanting to focus on well-being (aka yoghurt and water) sold Brasseries Kronenbourg to Scottish and Newcastle – there had in fact been a long-standing special relationship with the UK, and in 1952, a brand called 1664 had been brewed in honour of Queen Elizabeth’s accession.

But barely had the dust settled on this deal before in the great Game of Brewopoly, Kronenbourg was sold on to Carlsberg.

It was shortly this in 2010 that the Brand Historian received his dream commission. He was invited to organise a piss-up-in-a-brewery. In the Request for Proposal, this event was referred to as a strategic brainstorming, and the brewery concerned was to be the old Kronenbourg brewery in Strasbourg. Three hundred years since Bière Hatte Luxe was first brewed, the French, Germans, Brits, Danes and Russians were back in the heart of Europe for a spot of R&R.

Party like it’s 1664: 

Miserere Jean Baptiste Lully

Gothic Horror (in Club Stripes)

From the Brand Historian’s Timeline: 1818

In the years of peace after the final defeat of Napoleon, the British turned to reading and gorged on a surfeit of Gothic fiction which included Thomas Love Peacock’s Nightmare Abbey, Mary Shelley’s darkly imaginative Frankenstein and even Jane Austen jumped on the bandwagon with her pastiche Northanger Abbey. Meanwhile in the United States, as Washington Irving was working on his manuscript for a similarly scary story Legend of Sleepy Hollow, his fellow New Yorkers were hearing news of General Andrew Jackson’s latest frontier extending exploits in Spanish Florida. These included yet more terrorising of the Seminole Indians and the questionable execution of a couple of Brits who happened to get caught up in the ensuing farrago. But that’s populism for you.

In early April, 1818, New Yorkers were also hearing about an interesting new emporium that was about to open its doors for the first time in downtown Manhattan, and which would become one of the world’s most iconic retail brands. Henry Sands Brooks opened his new clothing store in the North East corner of Catherine and Cherry St, “to make and deal only in merchandise of the finest body, to sell it at a fair profit, and to deal with people who seek and appreciate such merchandise.” The launch was successful, and in 1850 his four Biblically entitled sons, Elisha, Daniel, Edward and John decided to change the name of the business to Brooks Brothers, since when it has become the official dresser of Presidents, generals and successive generations of Wall Street Would-be-Masters-of-the-Universe. 

But there’s a lot more to the Brooks Brothers story than club stripes and nice clothes. Over the years, Brooks Brothers has been responsible for a steady stream of sartorial innovations including ready to wear suits, button down collars, pink dress shirts (shock horror!), Argyle socks, Madras shirts, Harris tweed, seersucker summer suits and the ultimate in convenience, non-iron 100% cotton shirts. Brooks Brothers was also responsible for giving priceless sales experience to one Ralph Lauren, who surely must be one of its greatest alumni even if their relationship did turn just a little litigious at one point.

Dressing presidents from Lincoln (who was actually assassinated wearing one of its suits) to Obama, Brooks Brothers and its Golden Fleece logo, borrowed from an ancient Burgundian order of chivalry, have become ubiquitous in popular culture. You’ll see its clothes featured in Mad Men and worn by George Clooney, Archie Bunker and Kermit the Frog; the store is name-checked in novels such as This Side of Paradise and American Psycho. And returning to our Gothic horror theme, Anne Rice’s Lestat de Lioncourt, the lead character in The Vampire Chronicles is very partial to Brooks Brothers suits.

Music to Cheer on Andy Jackson

Hail to the Chief! (actually written by Sir Walter Scott, Bart.)

Extra Content:

For an appropriately Gothic epilogue to the story of the foundation of Brooks Brothers, please see the poem Ghosts inspired by a piece in The New York Times, April 2021 which reports on the fate of Brooks Brothers after it filed for bankruptcy – The Ghosts of Brooks Brothers.

A link to the poem is here:https://flotandjet.com/2021/04/18/ghosts/

A Playlist of Metaphors

From the Brand Historian’s Timeline: 2006

Aristotle liked a good metaphor and considered being a master of them to be a sign of genius. It’s certainly a useful trick for a brand manager with a complicated new product to use metaphor to get it into the mind of the customer. What something is like is often much easier to understand than what something is, and comparing something new, complex and strange with something familiar can be illuminating. I recently had an aneurysm test. Jane E Brody describes an aneurysm as ‘an abdominal time bomb lurking in the aorta, which is the body’s super-highway.’ A picture can be worth a thousand words and a well-chosen metaphor can also condense and package the detail to create a mental picture in the minds of the target market. Glad to say, my super-highway was clear.

Business language is rich in metaphors and certain categories of imagery seem to be particularly popular for a smash-and-grab. For example, finance and water seem to share a strong rapport. The financial pages talk about liquid assets, strong cash flow, new channels of income, or how an increasing drain on resources can lead to the risk of insolvency. 

Water and its dynamics have also been useful for communicating digital transformations and what those torrents of binary data can actually do for us. While the idea of data streaming had been around since the 1990s and the early days of developing video on demand, 2006 was probably the annus mirabilis. In that year, Google paid $1.65 bn for YouTube, the video sharing site which then employed just 65 people; Netflix was actively looking at setting up a streaming media division alongside its DVD rental business, and just as Apple executives were celebrating their billionth iTunes download, Daniel Ek was about to challenge the entire music business model when he launched Spotify.

Spotify, possibly against the odds, found an ecological niche between the music company giants who owned the content and the increasingly dominant new Internet platform capitalists, to offer listeners the benefits of an individualised music on demand service without actually having to buy the music. This service was either free but with advertising interruptions or via an ad free monthly subscription. It was the artists who were probably the least happy with the deal, but it seemed it was only the biggest stars who took their songs elsewhere.

There were a number of favourable pre-conditions which helped Spotify’s launch. The science of compressing high fidelity quavers and crochets into binary data packets without losing quality had advanced throughout the 1980s, but the arrival of the MP3 format in the mid 1990s was the pivotal event.  The development of the internet, especially as ADSL replaced dial-up created a fast, economical and effective means of transferring MP3 files. The strong underlying consumer need was then validated very clearly by the success of Napster which from 1999 until its shutdown in 2001 because of accusations of music piracy, showed the huge potential of peer-to-peer file sharing. The development after 2007 of Smartphones and 4G networks would make Spotify even more mobile, more relevant and more valuable.

Since its full market launch in 2008, Spotify has not rested on its laurels and with its easy UI, artist radio, mood playlists and cross device versatility, it has become one of the essential Digital Durables of our age. It is interesting to note that in the Brand Historian’s family, we have one committed Spotifier and another scion of the House who is dedicated to keeping and curating her own collection of MP3s and playlists. I remain a dual user, and to quote Aristotle, seem therefore to be caught between a rock and a roll.

Playlist like it’s 2006:

Crazy Gnarls Barkley