SAN MARCOS, CA— The 7^th Annual San Diego International Beer Competition concluded Sunday, June 23, with The Lost Abbey earning 6 total medals as well as being  honored with the first ever “Champion Brewery” award. (The Champion Brewery award was bestowed upon the brewery location with the most cumulative points based on awards.)

For three years running, The Lost Abbey / Port Brewing (Port Brewing Co.) has led or tied for the lead with the most medals in The San Diego International Beer Competition. In 2011, Port Brewing Co. garnered 6 total medals which was tied for the most awards. At the 2012 Competition, Port Brewing Co. topped the leaderboard with 8 total medals in addition to winning the Best of Show for Carnevale Ale.

“Having one of the largest commercial craft beer competitions in California each year, we take great pride in competing at the highest level on our home turf,” said Tomme Arthur, Director of Brewery Operations for The Lost Abbey and Port Brewing. “Consumers are always looking for validation, an award from the San Diego International Beer Competition shows them the excellence in brewing we strive for each day.”

The San Diego International Beer Competition and Festival ran from June 21 through June 23 at the Del Mar Fairgrounds. The competition received over 900 entries from 19 different countries and 22 states in the U.S. making it one of the largest in the country.

Watch the video.

Arthur, the co-founder and director of brewing operations at The Lost Abbey, previously joined the staff to taste and discuss the first six beers from the brewery’s Ultimate Box Set. This collection is the culmination of a year-long series of special edition beers inspired by classic rock songs.

Watch the video of the first Hangout.

Watch the video of the Hangout.

Tonight they’ll sleep in tents, or just sleeping bags on the cold, hard cement, but tomorrow they’ll be listening to bands and drinking even more beer from when the proceedings kick off at 11 a.m., until late into the following night. The prelude to a multi-band, multi-stage rock festival?

Nope.

This is Dark Lord Day. The one day a year, late in April (this year the 25th), when the Three Floyds Brewery hosts quite possibly the biggest craft beer release party in the U.S.—a gathering of 5,000-plus people—to unleash its monstrous, and fiendishly sought-after strong stout, Dark Lord. The economy may be in dire straights, unemployment is continuing to rise, but there seems to be no shortage of people clamoring to pay $15 for a 22-ounce bottle (or six) of the latest vintage of Dark Lord, with its wax-dipped cap and cartoonish label.

Welcome to the insane world of limited-edition beers.

Power to the People

Three Floyds’ Dark Lord Day—a 12-hour marathon of beer and bands—is just the most extreme, over-the-top case of fanaticism engendered by a single beer. There are plenty of other limited-edition releases produced by equally small, regional craft brewers throughout the year.

Seasonals, by definition, are “limited”—be it a summer hefeweizen or a high-alcohol winter warmer—and most brewers have tapped into the growing popularity of that segment. But only a handful of breweries and specific beers—Lost Abbey’s Angels’ Share, Portsmouth’s Kate the Great, Foothills’ Sexual Chocolate, Deschutes’ The Abyss, and of course Dark Lord, to name a few—seem to stir up the kind of frenzy that compels people to travel from as far away as Japan and Denmark for an event such as Dark Lord Day.

It wasn’t always this way, though. And we can thank the Internet, with two sites—Ratebeer.com and Beeradvocate.com—specifically fueling the current madness. This was all surely an unintended consequence of the public ratings that members of these sites are allowed to post on specific beers they’ve tried—from pints they had at a pub to bottles they bought at a store to samples they tried at a beer festival. These, along with detailed tasting notes, then get compiled into rankings based on the points that Joe Public “reviewer” assigns the beers.

While it’s a sort of populist way to determine the “best in the world”—and isn’t that what the Internet’s becoming, giving a voice to the masses via blogs, forums and other new media?—it has also helped foster a certain hysteria. As of this writing, prior to Dark Lord Day 2009, nearly 500 BeerAdvocate users, going back to 2002 when Dark Lord was first made, have posted reviews of the various vintages of the beer released over the years, using florid language—”big malty chocolate cake with hints of toffee, coffee, clove and dark fruits”—to describe its every nuance.

One rather incredulous beneficiary of this kind of rating/reviewing hysteria is Tod Mott, the head brewer at Portsmouth Brewing in Portsmouth, NH, whose Kate the Great Imperial stout has been regularly ranked in the Beer Advocate’s Top 10. His annual Kate the Great release party in February has drawn people from up and down the East Coast and as far away as Illinois for the chance to pay $10 each for a couple of the scant 900 22-ounce bottles (there’s a two-per-person limit) that are produced. Last year’s offering sold out in a mere four hours, probably about as long as a flight from Illinois to New Hampshire. “It’s really funny because [the ratings are] so subjective,” he says. “There are so many incredible beers on the West Coast that I’m totally blown away that we’re ranked number four. This tiny little brewpub in the middle of Portsmouth. We produce 1,200 barrels of beer a year.”

But those rankings and the buzz surrounding them do have a lot of power. After all, what serious beer lover/enthusiast/geek wouldn’t want to try—cue symphonic flourish from heaven above—The Greatest Beers In The World? And since most of the beers topping these lists are, no surprise, damn hard to get a hold of because of the small production runs and, therefore, nonexistent national distribution, it just feeds that irrational desire many consumers seem to have for things that are hard to get.

A number of brewers mention these sites specifically when trying to explain the rise of the limited-edition cult beers. “[It’s] all thanks to the Beer Advocate, the goddamn Beer Advocate,” Portsmouth’s Mott grouses jokingly. “It’s ridiculous. I mean, [Kate the Great] is a good beer, but, Christ, there are so many good beers out there.”

So what about water?

Though less acknowledged today, since brewers can effectively alter it to suit their needs (more on that later), water is, in fact, primarily responsible for the development of the pantheon of classic beers. “It is really interesting to look at the variety of styles that popped up in different parts of the world and became popular and good because of the water they had available to them,” notes Harpoon Brewing’s vice president chief brewing officer, Al Marzi. “The ingredients were all the same, except for the water, and you’ve got completely different beers being made.”

The basic recipe has always been water, malt, hops and yeast. So, why did the darker beers develop in Munich and Dublin, the hoppy pale ales in Burton, England, the pilsners in Plzen? As Olympia Brewing Co. founder Leopold Schmidt, so astutely proclaimed at the turn of the 19th century, it’s the water.

The True Connection Between Hard Rock and Beer

Water is the medium in which all the magic in the brewing process happens. And as innocuous as it seems—it’s clear and, for the most part, tasteless—it’s not all the same. You may have actually noticed when traveling that the water in, say, Portland, OR, may smell (or even taste) a little different from the H2O that comes out of your own tap at home. You may even have to use more soap or shampoo to get a good lather depending on what the water is like. This is what’s referred to as water hardness. And this, specifically, is what’s responsible for the development of different beer styles.

The chemistry of turning malted grains, yeast, hops and water into a delicious, refreshing alcoholic beverage, is relatively straight forward: grains are transformed into starches that, with the help of water and heat, the yeast can consume and turn into alcohol. But a little something called “water hardness” complicates things. “Hardness is mainly due either to lots of calcium and magnesium in the water, so-called ‘permanent’ hardness, as it’s relatively difficult to get rid of,” explains Professor Alex Maltman of the Institute of Geography and Earth Sciences at Aberystwyth University in Wales, “or bicarbonate in the water, ‘temporary’ hardness, which can be precipitated out by boiling.

“There’s a whole range of taste effects [in brewing] that arise from the presence of these substances, such as calcium promoting the bittering contribution of hops, and magnesium enhancing beer flavor, like salt in food. But the main effect—certainly of bicarbonate—is to affect the pH, or acidity, of the liquid during brewing.”

Yeast, who, let’s face it, do all the heavy lifting in the brewing process, are particular about the environment they work in. So, if the pH is comfortable for them, they can do their job well. Now, before this chemistry was known to brewers, they simply had to adjust their ingredients to suit the water. Bicarbonate-rich water—such as that in Munich and Dublin—creates a high pH (too alkaline for the yeast to do their thing properly). But roast some of the grains nice and dark, and it lowers the pH in the mash; the yeast are happy and they make a tasty dark brew, such as a German dunkel or Irish stout.

We can thank the varied geology of this great blue marble we inhabit for the variety of beers we drink today, because the different dissolved minerals in water—depending on the source—have had a profound effect on the development of brewing beer. “Burton-on–Trent in England has very mineral-rich water, including calcium and magnesium,” says Professor Maltman, “so it produces a strong tasting beer. It is also rich in sulfate, which adds a characteristic flavor and improves stability. This why the style known as English pale ale originated there, and the stability enabled it to travel far in those colonial days, even as far as India, if brewed strongly—hence India pale ale.” A relative lack of dissolved minerals, or “soft” water, such as that in Plzen in the Czech Republic, was key in the development of pilsner.

So, yeah, it’s the water. But, really, it’s what’s in the water. That is to say, those dissolved minerals—calcium, magnesium, sulfates and bicarbonates—are really what affect the pH, taste and stability. Which begs the question, how did they get there and why do some places have more or less? The answer lies in the earth itself. “The chemistry of water is greatly influenced by the geology of the aquifer in which it has resided,” explains Professor Maltman. “As one example, the bedrock below Burton, England, consists of sedimentary strata formed around 250 million years ago—a time when what is now England was closer to the equator and in desert conditions. Saline lakes evaporated to leave the sediments—what is now bedrock—rich in minerals such as gypsum, also known as calcium sulfate, and Epsom salts, also known as magnesium sulfate. Just as they were originally dissolved in the ancient lakes, these minerals now readily dissolve into the local groundwater, which is why Burton brewing water is like it is.”

So one may safely draw the conclusion that since the geology of North America is equally varied, the water is too. True enough, and though it hasn’t exactly given rise to specific beer styles, the water available to brewers here has had a profound effect on them—from San Diego’s challengingly hard water to the surprisingly perfect-for-brewing Brooklyn water. The difference today is that with the advanced understanding of what’s in our H2O—most municipal water suppliers can provide brewers with an analysis of the water makeup—we no longer have to brew beers that suit the particular local hardness. Or as Al Marzi at Harpoon so cleverly puts it, “The brewer’s art can be expanded to create any type of water he’d like to have for a particular style.”

The End. See you. Good-bye, thanks for coming. There’s the exit.

…are they gone? Okay, you guys who stuck around to see the credits…you want to hear the real history of craft beer? Not a history of breweries and who bought who, and what city has the biggest bragging rights, but a history about the beer. That’s what beer culture is about, and when it comes down to you and the glass, do you really care what month the brewery opened?

Open up the cooler of any worthwhile beer bar, and you’ll see pale ale, IPA and its big brother Double, hefeweizen, porter and stout—The Dark Twins, some solid craft lagers, some barrel-aged beers, Belgian clones and maybe some of the nifty new sour ales. Each one has a history. It’s not a story of places and water and the discovery of new machines, like the history of European beer. These are New World stories: they’re about the beer, the brewer who made it and the people who liked it. Dig into that cooler and get the real history of the new beers.

From a Small Beginning

What people drank in the 1970s, when all this got started, was mostly something like Budweiser. People were drinking light lager beer from a regional or national brewery—remember, Coors was still a regional brewery at this time—with a few exceptions like Yuengling Porter and Genesee Bock. The mainstream has, if anything, gone lighter yet, as light beer grew to over half the general beer market, while temporary fads cycled through the beer-consciousness: dry beer, ice beer, low-carb beer and the slowly fading malternatives.

But a different, tiny flow branched off from the mainstream when Fritz Maytag bought into the Anchor Brewery in 1968. He wanted to make his beer more like what he thought beer should be, so he went to England to see how they did it. He didn’t like what he saw: added syrups and sugars, not all-malt. Maytag rejected that idea, and fired a shot across the bow of English brewing with Liberty Ale, an all-malt beer with an American hop: Cascade.

One man’s decision started a landslide of craft beer tastes. Sierra Nevada Pale Ale would take the same idea—a smartly hopped, drinkable pale ale—and make a widely-emulated craft brewing flagship out of it. According to the brewery’s long-time head of sales, the late Steve Harrison, “We just made an ale we liked, and we liked the aromatic qualities of the Cascade.”

Maytag didn’t just pioneer hoppy pale ales, either. He started—or re-started—the idea of holiday beers, special seasonal one-offs brewed for the winter holidays, with a beer called Our Special Ale. “I liked the idea of an ale brewed for a festival,” he says. “I called it a gift to our customers, not to make a profit. It has become profitable, but it wasn’t for years.” Other brewers followed the same path, and now a mad profusion of holiday styles—spiced ales, rye porters, barleywines, “winter warmers,” doublebocks—make a colorful display every December.

Up in Portland, Rob and Kurt Widmer found a new direction for wheat beer when someone made a request they couldn’t figure out how to meet. “Carl Simpson at the Dublin Inn asked us to do a third beer,” Rob recalls. The brewers only had two fermenters, and were making altbier and a wheat beer with the altbier yeast.

“We figured if we just didn’t filter the Weizen it would make a third beer,” Rob says. That simple, impulsive business decision was the source of the immensely successful American unfiltered wheat ale, still one of the most popular kinds of craft beer. The Widmers would sell it in draft for as long as they could—laying the foundations of the craft beer bar scene in Portland, along with Kemper’s lagers and Portland Brewing’s ales—then finally go to bottle in the face of burgeoning demand, a demand that spelled success for brewers like Pyramid and Redhook, too.

The other side of Portland’s craft beer scene was, and is, brewpubs. Brewpubs started out a lot like the Widmers: a couple fresh beers, this is what you get. Then they went through a “color beer” phase: golden ale, amber ale, and Something Dark, either a porter or a stout. There’s still some of that around. Brewpubs really hit their stride when places like BridgePort and the McMenamin’s pubs, and Big Time up in Seattle, stepped completely outside that model with IPAs, imperial stouts and barleywines. Brewpubs became and largely remain the experimental edge of American brewing, a brewing laboratory where beers can change on a weekly basis.

The Dark Side

Porter was taking hold on the other side of the mountains. “Porter” may sound like a traditional beer, but it was a shot-in-the-dark re-creation: porter had died out in England. Deschutes brewed up some in Bend, and growing demand sucked them into the Portland market. Black Butte Porter did okay, and no one else was making many dark beers. Brewery president Gary Fish took “a contrarian approach. The dark beer pie was a smaller one, but we could own almost all of it. It worked.” When brewers think about making a porter, Black Butte is often the success they think of.

If you like IPA, the India pale ale that some brewers tried to make “more authentic” by adding oak chips to simulate a long journey by sea (don’t hear much about that bone-headed trend any more, do you?), bow down to the memory of Bert Grant. Grant left an increasingly sissified Canadian brewing industry, hunkered down in the middle of hops country in Yakima, WA, and started throwing hops in his beer. We liked it, and brewers saw how easy it was to step up and vary the flavor of beer by simply adding a wad of hops. More wads followed, and IPA became a staple.

Meanwhile, Jim Koch in Boston, and Steve Hindy and Tom Potter down in Brooklyn, trying to decide what to build their new brewery business on, took a look at what beers were already the most popular in the world: why not brew a lager, but with more body and flavor? Once Koch developed a recipe for Samuel Adams Boston Lager, and Hindy and Potter got a recipe for Brooklyn Lager, they had to figure out how to brew it. Again, they had the same idea: get someone else to do it, someone who already had the equipment, the experience, the connections with suppliers: a contract brewer.

It was an idea and a practice that set off fifteen years of argument over whether “contract beers” were really microbrewed. “It was never a real issue to begin with,” Koch says. “Big brewers like A-B used it to damage the craft brewing industry and distract us from our common ground: brewing great beer.” In the end, that’s what the people decided. While geeks were waving their arms, and brewers were talking mean about each other, bottles of Sam Adams and Brooklyn flew off the shelves. You won’t hear geeks talk much about them, but the results are conclusive: people like craft-brewed lagers.

What people didn’t like was too many of them. Contract-brewing was valid, but it was also an easy way to make a quick grab at a “microbrew” market that was growing around 50 percent annually. Labels were slapped on regional breweries’ output willy-nilly: Hope, Nathan Hale, Trupert, Naked Beer, Red Bell, Red Ass, Bad Frog, Wall Street Lager, Three Stooges. There were the “gay beers,” Black Sheep and Pink Triangle; there were beers that were going to launch national brands, like Brewski and Wanker Light; there were beers with causes, like Rhino Chasers, which pledged to donate money to save the wild rhinoceros (not just a dumb idea, but the fake rhino horn tap handles were so heavy they broke beer spigots).

Behind these brands were marketing geeks, not beer geeks. None of them realized that there has to be a significant difference in the bottle; they thought people were really buying cute labels and quickly crafted minimal backstories. None of them are still around. People shudder when they think about the microbrewery ‘shakeout’ that occurred in the late 1990s. We should look on that time as one of beneficial hardship, of the classic Nitzschean type which did not kill us, making us stronger.