Stout Sells Out: How Big Beer ‘Goosed’ Sales

The Wall Street Journal: “The popular image of the brewing industry is of a war between Craft and Big Beer. It’s small, independently owned breweries facing off against multi-billion-dollar corporations hawking bland-tasting beer with outsize control over the global market. These terms are useful for drawing battle lines in the beer world, but as Josh Noel explains in ‘Barrel-Aged Stout and Selling Out,’ the reality is slightly more complicated … Mr. Noel’s book recounts the rise of Chicago-based Goose Island Brewery, a vanguard name in craft brewing that was purchased in 2011 by Anheuser-Busch InBev, the biggest and baddest beer maker on the planet.”

Goose Island was founded in 1988 by John Hall, a box-company executive with a taste for European beers … Big Beer could not afford to ignore upstarts like Goose. Anheuser responded to the craft-beer boom by developing its own artisanal styles and buying stakes in a number of small breweries. But the threat to Big Beer seemingly abated when craft’s swift advance suddenly skidded to a halt … That downturn was one factor that led it to agree, in 2006, to the sale of a large minority stake—to a brewing company partially owned by Anheuser.”

“Goose sales spiked 60% within a year. In 2004 Goose had produced 50,000 barrels of beer; in 2011 that number had tripled. But its success became its own obstacle: Goose couldn’t brew enough beer to meet insatiable demand. So it ‘sold out’—agreeing in March 2011 to a 100% sale to Anheuser for $38.8 million … There’s a contradiction at play in the relationship between craft beer and big business. On the one hand, as Mr. Noel spells out, craft won the war by forcing the world’s largest brewer to change. On the other, it lost by being commandeered by that very same company.”

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Kicks: How Sneakers Sneaked Up

The Wall Street Journal: “How on earth have people who make freaking footwear apparently managed to reduce athletic powerhouses like USC and Louisville to the role of glorified money launderers? It all comes down to the outsize importance of sneakers in popular culture. In his expansive, thorough and entertaining book ‘Kicks: The Great American Story of Sneakers,’ author Nicholas Smith traces the history of this $20 billion industry, arguing that the power and allure of the shoe have shaped American business and fashion for decades.”

“Their manufacturers have thus become economic forces larger than the sports they’re supposedly there to support. In many ways, to hear Mr. Smith tell it, the shoes have been wearing us.’Kicks’ serves as a comprehensive look at how much the sneaker became a signature indicator of cool, from Chuck Taylor and his Converse All-Stars to Clyde Frazier’s Pumas to Run-DMC and their Adidas to, of course, Michael Jordan.”

“Today, the author suggests, sneakers have essentially replaced music as the go-to investment for companies looking at getting into the youth market. They have become so popular that most manufacturers make limited-edition shoes that exist solely to become valuable and are almost never worn. The shoes aren’t for wearing; they’re simply for having.”

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Short Edition: The Literary Vending Macine

The New York Times: “Short Edition, a French community publisher of short-form literature, has installed more than 30 story dispensers in the United States in the past year to deliver fiction at the push of a button at restaurants and universities, government offices and transportation hubs. Francis Ford Coppola, the film director and winemaker, liked the idea so much that he invested in the company and placed a dispenser at his Cafe Zoetrope in the North Beach neighborhood of San Francisco. Last month public libraries in four cities — Philadelphia; Akron, Ohio; Wichita, Kan.; and Columbia, S.C. — announced they would be installing them too. There is one on the campus at Penn State. A few can be found in downtown West Palm Beach, Fla. And Short Edition plans to announce more, including at Los Angeles International Airport.”

“Here’s how a dispenser works: It is shaped like a cylinder with three buttons on top indicating a “one minute,” “three minute” or “five minute” story. (That’s how long it takes to read.) When a button is pushed, a short story is printed, unfurled on a long strip of paper. The stories are free. They are retrieved from a computer catalog of more than 100,000 original submissions by writers whose work has been evaluated by Short Edition’s judges, and transmitted over a mobile network. Offerings can be tailored to specific interests: children’s fiction, romance, even holiday-themed tales.”

“Short Edition, which is based in Grenoble and was founded by publishing executives, set up its first kiosk in 2016 and has 150 machines worldwide … The dispensers cost $9,200 plus an additional $190 per month for content and software. The only thing that needs to be replaced is paper. The printed stories have a double life, shared an average of 2.1 times.” Kristan Leroy of Short Edition comments: “The idea is to make people happy. There is too much doom and gloom today.”

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Hershey Story: In Chocolate We Trust

The Wall Street Journal: “In the early 20th century, Milton Hershey transformed chocolate from a luxury good to a working-class staple. It made him a fortune, which he used to establish Hershey, Pa.—a model company town 100 miles west of Philadelphia and the self-proclaimed ‘sweetest place on earth.’ He also established an orphanage, the Milton Hershey School, to provide housing and education primarily for children from the area.”

“Hershey and his wife supported the school through a trust, which they established in 1905. By 1918, when he donated his full stake in his chocolate company to the trust, the trust was valued at $60 million. Today it is worth more than $14 billion—ranking it among the largest nonprofit endowments in the nation, on a par with MIT’s—and has maintained a profound commitment to its locale.”

“Peter Kurie’s ‘In Chocolate We Trust: The Hershey Company Town Unwrapped’ is a study of the town and of its residents’ shifting attitudes toward its institutional trinity of trust, company and school … He demonstrates how a philanthropic institution can continue to reflect a founder’s vision while shaping and being shaped by the community that grows up around it, one whose bonds can often be bittersweet.”

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Beijing Surprise: All Sages Bookstore

The New York Times: “All Sages Bookstore, a haven of precisely arranged shelves and display tables, thrives on the low-rent second floor of a nondescript building near Peking University … the store represents an independent political spirit in an authoritarian one-party state … A large image of Bertrand Russell, the British philosopher and freethinker, stands out among a galaxy of literary posters lining the wall of the entry staircase, a taste of what’s to come.”

“All Sages has the feel of a well-ordered, smaller version of the Strand Bookstore in Manhattan … The clientele seems to be as varied as the books. The store is strategically located, within walking distance of China’s premier university campus, but people from all over the country drop by. On a recent weekend, a manager of a chemical company in the southern city of Shenzhen pushed a trolley full of books to the cashier for dispatch home by air courier. High-ranking military officers, party officials, rich society figures and celebrity entrepreneurs are all customers.”

“The books in All Sages are all in Chinese. That makes the selection dependent not only on Mr. Liu’s broad-ranging tastes, but on the Chinese publishing houses. They, in turn, are subject to the Communist Party censors who control what is published by Chinese authors and foreign writers translated into Chinese … Among the steady sellers at All Sages are books on American history and biographies of the early presidents … George Washington’s Farewell Address, which outlines his argument for term limits — have always sold well.”

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Craeft & The Wisdom of Daily Life

The Atlantic: “In his new book Craeft, the archaeologist and BBC presenter Alexander Langlands offers a fascinating and surprisingly relevant dive into a subject that might seem niche to many—the origins of traditional crafts in medieval Europe … For Langlands, the Anglo-Saxon word ‘craeft’ is distinct from our modern word “craft” in spirit and in practice. ‘Craeft’ means having the wisdom of one’s surroundings, understanding nature and the seasons, and knowing one’s materials, as well as how objects and systems fall apart.”

“Apart from its use as a marketing term for, say, microbrews, the word today doesn’t usually connote a skilled trade. Unlike ‘working,’ ‘crafting’ is commonly understood as fun: It can be self-consciously silly, feathered, decoupaged, and brightly colored. It’s fun for kids and meditative for grownups. In most cases, the product of a crafting session is less important than the relaxing process by which it was made … It provides the satisfaction of transforming a stack of materials into a tangible, recognizable finished object, often by way of a therapeutically repetitive process. Craft’s magic trick is that it’s play that’s been designed to look like work.”

“What Langlands is advocating for in his book is more widespread knowledge about the time when craft was integral to daily life. In the era he studies, activities like beekeeping weren’t escapes from reality, but essential to it. He also smartly notes that neither ‘craft’ nor ‘craeft’ is a synonym for ‘working with one’s hands.’ At its root, the word ‘manufacture,’ which is associated with mass production, means ‘to make by hand’ … Langlands calls for living and working with awareness of our environments, materials, and challenges in real time.”

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Late & Great: Fred Bass

Quartz: “Fred Bass, co-owner of New York’s massive used bookstore, fondly known as the Strand, died of heart failure Jan. 3 at 89. Bass transformed his father’s modest store into the four-story bookshop immediately recognizable to New Yorkers and tourists today: The store on Broadway, with its red-and-white awning over $1-book carts lining the southern-facing exterior.”

“There are two basic things a good bookstore can provide: The delightful maze of human-curated shelves, or the satisfaction of efficiently getting the book you’re looking for. Amazon has done its part in taking away business from the bookstore chains that have excelled at the latter, like Borders and Barnes & Noble. The now Everything Store once sold nothing but books, and one way it’s done so successfully is by offering deep discounts. The Strand, though nowhere near as ubiquitous as Amazon.com, has been able to tout dizzying volume at the same time it’s maintained a beloved shopping experience.”

“What Amazon has done well—sell its vast inventory to you for super cheap—Bass did first. And with tote bags. Nearly all the store’s books are sold at a discount, ranging anywhere from a couple dollars off a new title to less than a $1 for a classic or a book that’s run its course … Today clutching one of Strand’s 100 or so bag designs is a proud display of reader identity.”

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Bookstores are ‘Houses of Seduction’

The Globe and Mail: “Unless you’re just about to board, bookshop browsing can be a deeper and more untethered exercise than other kinds of shopping. Just opening a book and reading a few lines can draw you partly into another world, one you might not have planned to visit. According to Vancouver publishing consultant Thad McIlroy, only 40 per cent of bookstore purchases are premeditated. All the rest are decided on impulse.”

“Knowing this, booksellers and publishers think carefully about how to design the space and arrange the stock … a good bookshop is a house of seduction, created to lure the book lover and keep him or her circulating in the aisles. The sumptuous beauty of shops such as El Ateneo Grand Splendid, in Buenos Aires, is part of the game. Systems for displaying the wares may follow a wonderful, idiosyncratic logic. Altair, a travel bookshop in Barcelona, arranges even its fiction and poetry titles geographically.”

“In the online trade, only the books circulate, while the readers stay at home in front of their screens. Algorithms make robotic suggestions, following a practice launched by the London bookshop Hatchards (established in 1797), where live, professional readers still select and ship books to subscribers. Hard-copy books are still published by the thousands; it’s the transactions that have become ethereal.”

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The Huarache: When Weird is Beautiful

Quartz: “The Nike Huarache almost never existed. The shoe, made of a sock-like bootie encased in a supportive exoskeleton, was definitely unusual when Nike began showing around the prototypes in the early 1990s. Practically nobody placed orders, and Nike seemed to have little choice but to kill the idea. Lucky for Nike, one product manager didn’t listen … the Huarache has become Nike’s top-seller globally.”

“The shoe dispensed with a number of conventional ideas in sneaker design. It had no heel counter—the firm backing of the shoe that wraps around your heel to support it—opting instead for the distinctive, harness-like strap, similar to a sandal. (A ‘huarache’ is a kind of Mexican sandal.) It also used neoprene, which had never before been done in a running shoe … when no one placed orders after seeing the prototypes, Nike decided not to make the shoe for release.”

Tinker Hatfield, who designed the shoe picks up on the rest of the story in his new book, called Sneakers: “But one of our product managers actually thought it was awesome, and without proper authorization, he signed an order to build five thousand pairs even though there were no orders. He stuck his neck way out there. He saw what I saw. And he took those five thousand pairs to the New York Marathon, not a place you typically went to sell shoes, and he sold them all in like three days at the exhibition hall right there near Times Square. Word got out. They went like hotcakes. In a month, we went from zero orders to orders for half a million pairs.”

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The da Vinci Code: Observe, Connect & Create

Walter Isaacson: “Today we live in a world that encourages specialization, whether we are students, scholars, workers or professionals. We also tend to exalt training in technology and engineering, believing that the jobs of the future will go to those who can code and build rather than those who can be creative.”

“But the true innovators tend to be those like Leonardo who make no distinction between the beauties of the arts and the beauties of the sciences. When Einstein was stymied in his pursuit of the field equations for general relativity, he would often pull out his violin and play Mozart. The music, he said, helped to connect him to the harmonies of our cosmos. At the end of many of his product presentations, Steve Jobs would display a slide that showed the intersection of streets labeled ‘Liberal Arts’ and ‘Technology.’ He knew that at such crossroads lay creativity.”

“There is a flip side for those of us who love the arts and humanities. Like Leonardo, we must be able to see and embrace the beauty of a mathematical equation or a scientific theory. Cultural critics who complain that today’s students fail to learn Shakespeare or civics or history should not be complacent about their own cluelessness when it comes to, say, what a transistor does or how a circuit processes logical sequences. All of these topics are valuable and enriching, especially when we can connect them to one another.”

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