MicroShiner

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craft distilling micro philosophy

Craft Is More Than A Label

Thursday, August 11, 2016
When it comes to the question of 'what is craft distilling', it's really a matter of intent. What is trying to be accomplished, and does the outcome meet that intent?

Digging a little deeper, the question becomes 'whose intent?'. The consumer's, or the producer's? If we’re talking about consumers, which consumers?

Some of us, when we choose craft, do so because we want to support small businesses engaged in local production, and we may even be willing to sacrifice some degree of quality in the finished product to achieve this intent. We place a higher value on the concepts of terroir and distributed capacity than we do on such subjective characterizations of Quality as drinkability and taste. This sentiment is the foundation for the definition of craft put forth by ADI and the principle that guides our own efforts here at MicroShiner. It’s the intent behind the outcome we expect to achieve when we put our money down on a craft label and why we take exception when contract and commodity distillers assume the mantle of craft.

This is not to say that many large scale producers are not masters of their craft, or that theirs are not the products highest in quality. They are. I wholly concur with Michael Veach’s interpretation of the etymology of the term craft, and I lament the demise of the master craftsman, both in principle and in practice. It’s why I created MicroShiner with the expressed purpose to promote and revive it.

The trouble with craft comes not from the term itself, but when one group or another attempts to co-opt it. What ADI is really getting at with their definition of craft is “micro”. But micro is a dirty word in business, because it inherently implies an aversion to scale, exactly why our name MicroShiner explicitly contains it. Instead of saying what they mean, ADI assumes the term craft, discrediting the many master craftsmen practicing at established distilleries in order to appease the needs of those distillery startups built around an exit strategy.

Better were we all to embrace our true intent, and let the chips fall where they may. There is room for everyone. Commodity distilleries don’t need to be craft when their business is based on providing decent product at the lowest price. Small producers don’t need to be craft when they are really expected to be independent and local. Every consumer has a goal in mind when they go in search of a product and someone to provide it, and it’s our responsibility to help them achieve this. It only hurts everyone when we use labels such as craft to deceive them.

As Mr. Veach points out, distilling is a craft, one that takes a lifetime of practice to master. It's a process, not a product. It's in our collective interest to honor the term, rather than demean it.

~ cheers ~


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Who Are These MicroShiners You Speak Of?

Friday, March 25, 2016
The easy answer to that question is to say that a microshiner is a micro-distiller or someone who enjoys craft spirits, but that merely scratches the surface. In reality there is much more to being a microshiner than just the alcohol. 

It could be said that a microshiner is the modern version of Prohibition's scofflaw, except today it isn’t the law that is flaunted so much as convention. A microshiner is a reactionary, someone who took a look around and said, “Thanks for the inspiration, but I’m going about this my own way.” Microshiners are risk takers, explorers, pioneers. They are not content accepting the status quo. They realize living a deliberate life is the highest form of art, and they aim to live it well.

The first thing to note about a microshiner is that they choose to live by principle, and their choices are based on value. They are unwilling to settle for the convenient, choosing rather to seek out things of quality, items and associations that embody the manner in which they choose to live their lives.

Of course, they enjoy spirits. The name itself is a nod to small group of insurgents, sappers who are quietly tunneling their way beneath the edifices of the beverage alcohol market. Slowly breaching each fortification the industry had erected to insulate itself, this underground force has quietly taken the thread that began with the craft beer movement to its logical conclusion. 

They distilled it.

Distilling is about reducing something to its very essence, and the essence of a microshiner is authenticity, the authenticity that comes with the freedom of personal expression, in word, style, and deed. Being a microshiner is about being authentic. It is about taking ownership of every facet and instance of our lives, and being deliberate with our choices. And it is bigger than trends or fads because it relates to functions essential in the maintenance of a civil society, the manufacture of goods and provisions.

It begins with craft spirits, however they are merely the gateway to the journey. 

At its core, this movement is about relationships, between producers and their process, the process and the product, the product and those who make use of and enjoy it. A microshiner takes none of those relationships for granted, and in fact exalts them. 

A microshiner is a member of a larger craft culture, a growing community of producers and consumers who are creating a modern expression of quality. A tribe of individuals who find the subtle differences in style, texture, and taste that come from local materials and hands-on methods preferable to what is offered on the common market.

As microshiners, we concern ourselves with terroir. We savor the differences in weather that influences those in dress between the Pacific Northwest and New England. When we travel, we don’t want to see what we saw back home, nor do we feel there is any reason we should have to. We prefer our New England fisherman’s sweater be truly from New England, just as we would our clams. For a microshiner, this manifests in a focus on distillation, with a goal in mind of returning terroir to the realm of spirits and repairing our fractured cocktail heritage.

At its most elemental, a microshiner is an individual who enjoys life, distilled.


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This is What MicroShiner is All About

Wednesday, February 24, 2016
Before MTV launched in 1981, there were really only 3 television channels in the United States. Which meant everyone in the entire country was tuned into the same programming. Prime time’s number one program in 1980, CBS’s Dallas, routinely captured over 20 million of the approximately 80 million US television viewers that year. This translates to nearly one quarter of the nation’s population walking, talking, and spending its money like JR.

The effect of this mass indoctrination was to teach us to all want the same thing. Hardly anyone in 1987 was combing the internet for obscure brands or otherwise looking for ways to set themselves apart. About the best one could ask for was a pair of Nikes and a Bud Light.

At that time, there was somewhere around four and a half billion people in the world. Soon that number will have doubled. Amidst this sea of humanity, creating a unique identity is paramount. Being extraordinary becomes more important than being like Mike.

In its quest for efficiency, the mass market served to homogenize. It capitalized on comparative advantage and inequality. It was designed around planned obsolescence. Individuality and autonomy was its sacrifice.

Today there is a different movement afoot. One focused on distinction, on originality, on personal expression. Out of the shadow of the assembly line, a new vision has appeared. It spans the recent dark age of craftsmanship, connecting the old world with our modern era. 

Around this movement, a community has grown. People who understand there is such a thing as quality in the world, and who aspire to attain it. People who want to experience life through personal connections. MicroShiner was created to serve them.

MicroShiner is a destination designed to unite the craft community and connect them with producers and purveyors who share their passion for quality. Our goal is to curate the very best in spirits, goods, and culture from the craft space and share these sources of inspiration with the world.

Ours is a vision of the future. A future in which, upon meeting our basic needs, we aim higher. Where the term craft carries meaning, not merely as a marketing buzzword, but as a vital economic force that serves to strengthen our communities while enriching our lives.

In the spaces between these loftier goals, we champion kinship and good cheer, fueled by fine spirits. We believe that by focusing on the simplest aspects of life - a cocktail infused with love and attention to detail, spirits bottled by hand, a pair of benchcrafted boots - and refining them, we make the world a better place.

It is our belief that the quality of our experiences determines their worth, not the quantity of them. To that end, we seek to bring together the stories, images, and understanding necessary for you to craft your own unique expression of life, distilled. We hope you’ll join us on this journey.


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Zen and the Art of Micro-distillation

Wednesday, February 17, 2016
In his seminal work Zen and the Art of Motorcycle Maintenance, Robert Pirsig argues for the existence of something called Quality. There's such a thing as Quality in this world, he says, and it's real, not style. According to Pirsig, pursuit of Quality is the impetus for all human endeavor, and the consequence of this effort, what we call art. In this case, the Art of Micro-distillation.


Like many who have contemplated the Path to Enlightenment in terms of their daily existence, Pirsig also hints to the fact that there is as much value in the practice of art as there is in actually creating it. The real beauty of any art, whether in practice or form, is that it serves as a lens, a mirror upon which we can reflect. A person who sets out to practice the Art of Micro-distillation may not initially intend this practice as zen, but as they develop mindfulness through the exercise of their craft they will undoubtedly begin to strip away the trappings, the gilding that is employed to mask the absence of Quality. Through practice, and an unyielding quest for Quality, they distill their art to its essential form, that of pure spirit.  


Inviting as that sounds, those of us not fortunate enough to be micro-distillers need not run out and become one. Rather we may rejoice in the inspiration of their example and seek similar attainment through our own pursuit of Quality. In craft, whether by practicing our own or supporting that of others, we can discover a personal path to Quality, the virtue of which is not its only reward.


Practicing a craft lifestyle is itself a manner of such pursuit. It involves developing awareness and making conscious, deliberate choices in order to bring about outcomes that align with a particular set of values, then providing space to appreciate not only those outcomes, but the process of attaining them. It is a manner of living that is based on the contemplation of our relationship with the goods and services we attain, not merely the consumption of them. It is about asking yourself “why am I buying this?” and finding contentment in the answer.


The craft lifestyle also serves to reestablish our connection with natural orders, our relationship with our community and our environment. It gets us thinking about where products come from and who made them, and the implications of the process of their creation. Craft culture is not content with simply taking a box off a shelf and blindly trusting what is written on it. Those who practice a craft lifestyle seek Quality, and will not accept a mere assurance of it. It is something they must determine for themselves.

My personal feeling is that this is how any further improvement of the world will be done: by individuals making Quality decisions and that's all. - Robert Pirsig




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Spirit of the Next Industrial Revolution

Monday, November 9, 2015
While the art of distillation in modern times may best be described as intoxicating, its roots are much more mundane. Surely fermentation was first recognized by humanity for its physiological effects, but it was alcohol’s utilitarian value in preserving food that truly made it valuable.

Since prehistory, man has fermented fruit and grain for storage. Because alcohol curbs or eliminates the growth of bacteria, it significantly lengthens shelf life compared with foodstuffs stored in other forms. It is for this reason that throughout time, a direct consequence of agriculture is alcohol, as it allows excess production to be utilized, rather than wasted.

Prior to the industrial revolution, beverage alcohol was omnipresent. Subsistence farmers and field workers drank low content beer, wine and cider from daybreak until sundown, to combat both the tedium of labor and the lack of clean water. By the 1st Century, Greek and Chinese alchemists had begun distilling these low-wines into high content spirits, giving rise to the "national" drinks of Europe.

Whiskey came to America in the late 18th century, likely at the hands of Scot and Irish immigrants who began to settle and farm the area of present-day Kentucky. The spirit they brought with them evolved to suit these new surroundings, making increasing use of their primary crop, corn, and became known as bourbon in the early 1900s. It was easier, and likely more profitable, to ship to market than grain, and barreling whiskey for the burgeoning seaboard communities soon became an integral part of Ohio, Kentucky, and Tennessee agriculture.

Today, interest in American whiskey is keen, as demonstrated by a recent announcement from MGP that it is spending $16.4 million to double warehouse capacity at its Lawrenceburg, Indiana distillery. MGP, for those that don’t know, is an industrial-scale producer of beverage-grade alcohol, and the base spirit behind innumerable craft labels and “small-batch” whiskeys, including Bulleit, Smooth Ambler, High West, Templeton and George Dickel. This investment is predicated on management's belief that “American whiskey is in the early stages of a long term growth trend … Increased capacity will help us better support the rapid growth of the whiskey category.”

How that makes one feel about the merits of their favorite craft label aside, the real problem with MGP’s rationale is that it flies in the face of current trends in economic dialectic and consumer thirst.

Steel, electrification, and the model of centralized mass production ushered in the second Industrial Revolution, the greatest increase in economic growth ever recorded. Fueled by petroleum, improved communications, and the Green Revolution, the period gave rise to a proliferation of cheap goods and the extensive urbanization of the world’s population, a cohort which in the past decade has come to exceed its rural counterpart for the first time in human history.

Today, we are on the cusp of another industrial epoch, one founded in the leverage generated by lateral power aggregated from abundant point sources. At its core, the recognition that a networked system of smaller nodes has a greater effective capacity than a centralized one of equal magnitude. Millions of connected utilities, constantly propagating, evaluating, and disseminating the whole of global output at the speed of light will power mankind into the future.

The loudest voice in this movement is that of Jeremy Rifkin, an American economist and philosopher. Rifkin has become a vocal proponent of renewable energy and intelligent infrastructure, and he has the ear of some pretty important people. He currently advises the United Nations on the Future We Want, and numerous world leaders, including the European Union and Premier Li Keqiang of China, have incorporated his economic precepts into their plans.

Revolution relies on disruption; in this case, distributed capacity. It is here where MGP’s thinking lags, and why the future of spirits belongs to craft.

The emergent economy is comprised of millions of people around the globe who produce and share information and energy across a network of peer-to-peer connections. Just as Napster disrupted the music industry when they introduced the world to file-sharing, today’s micro-distillers are disseminating production capacity across the landscape, disrupting a near century long paradigm of mass manufacture sustained by cheap transportation and regulatory strangleholds. Much like server farms, power plants, and factories will inevitably be replaced by nodes, solar collectors, and 3D printing, micro and craft producers will most assuredly supplant bulk spirits.

Were it not for market forces, however, MGP’s strategy might still be considered sound, and in the short term will likely prove profitable. With the majority of humanity living in an urban setting, regional point sourcing is not entirely feasible in all cases, and the company’s scale and expertise ensures a product of consistent quality that will remain relevant for some time. But the American drinking public grows increasingly intelligent, and the days of non-distilling producers, those who source bulk products and market them as their own, are numbered. As spirit imbibers become better educated, and micro-distillers pay off capital costs and achieve profitability, they will ultimately begin to undermine the legitimacy of the MGP business model.

Mankind is entering the next phase in its economic evolution, and as the population of the world continues to increase, its propensity for existential qualities such as terroir, regionality and distinction in its provisions and appurtenances will only intensify. People in the next chapter of human development will not be satisfied with cookie cutter products from an assembly line when they can just as easily download a design to their 3D printer that expresses their own unique tastes, any more than they will tolerate a whiskey that differs from a dozen others only in its label. And while this spells trouble for the likes of MGP, it opens up a world of opportunity for true micro and craft producers, whose spirits embody the essence of how, where, and by whom they were made.





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It Never Rains in Southern California

Friday, September 4, 2015
It was with the release of Fast Times At Ridgemont High in 1982, followed quickly by Valley Girl in ‘83, that the beach blonde Southern California aesthetic began registering on the country’s cultural barometer. SoCal, as it came to be called, soon entered a golden era, eventually driving trends in fashion, music, food, and nearly every other aspect of the middle to lower class American cultural milieu to an extent that has never really been replicated.



LA emerged from its acrid pall of smog in 1984, when it hosted the Games of the XXIII Olympiad. Masterfully organized, marketed, and executed, the '84 Olympics ensured that for several weeks that summer the eyes of the world remained fixated on the City of Angeles, cementing its sun drenched Cal-look identity in the minds of millions. It wasn’t until the groundbreaking gang film Colors in 1988 that the metropolis’ seething underbelly was truly revealed, although gritty crime dramas such as To Live and Die in LA and Hunter had hinted at its existence years prior. Steve Martin’s spoof LA Story brilliantly signaled the end in 1991, revelling in a wealth of idiosyncrasies that had become cliched, but it was the April 29, 1992 riots in South Central that finally drew the shades on Southern California’s moment in the sun.

SoCal’s cultural relevance waned quickly, as evidenced by the flight of both the Raiders and the Rams from the country’s second largest media market in 1994. Soon only Dr. Dre remained to serve as testament to the region's former glory.

An artist of undeniable genius and cultural import, Dre is remarkable not only for his musical prowess but for his ability to quietly lead from the shadows. In a genre literally built around boasting egos, Dre prefers to let a legion of young voices run the mic and take the wheel. But make no mistake, while he may be lounging in the back of the whip like a true gangster should, he’s the one in the driver’s seat.

Following the release of Compton, his first full length album in more than a decade, Dre is once again at the forefront of an advancing SoCal presence. A gut check for those of us whose lives have coincided, but perhaps not evolved, with Dre’s, Compton: A Soundtrack is exactly that, a backdrop to the next episode of Southern California influence.

Too big to fail, the megapolis may have been sidelined, but it’s never truly out of the game. Out of sight and out of mind, it has been content to mature in relative silence. Hollywood, blow and violence might make for good television, but they can only take you so far. The new SoCal style is more nuanced, more true to itself, more honest. Its face is no longer singular, that of a peroxide blonde California girl, or even a Kings clad gangbanger or lowriding chollo.



Its next cultural explosion will, like Dre’s Compton, be an expression of an evolution. SoCal is the quintessence of what America has become, a culimination of our ethnic and cultural homogenization, our latest environmental crisis, and our shifting economic paradigm. It may have had its dark days, but it is a bellweather for our past and future identity.

There is no doubt that LA is on the uptick. Dre sits atop the box office and pop charts, the city is preparing for another Olympic bid, and there is talk of the Rams and Raiders’ return. The question is, can craft culture survive, let alone thrive, in a city that covers 4,850 square miles?

It seems doubtful, given the city’s decentralized sprawl and mass consumer roots. A quick survey of the MicroShiner map reveals only a few producers of craft spirits within its borders, in a town that buys a lot of cocktails. This compared to Austin, Texas, which lays claim to at least half a dozen distilleries and supports a booming craft culture on less than one fourth the population.

However, it is hard to judge LA as a whole, as it is really a cluster of individual towns portrayed as having a solitary identity, at least from an outsider’s perspective. On closer inspection, one finds craft culture certainly does exist in this amalgamation, coalescing in small pockets throughout the basin. Downtown LA, Silver Lake, Echo Park, Santa Monica, Hollywood, Venice and even some parts of Pasadena, Highland Park, Sherman Oaks, and Manhattan Beach all contain thriving craft scenes, thanks in large part to the influence of expat NYC bartenders like Sasha Petraske (RIP), Alex Day, Dave Kaplan, Simon Ford, Dushan Zaric, and Eric Alperin. The number of talented bartenders practicing there right now would give Brooklyn and Portland a run for their money, and this burgeoning culture has given rise to the dawn of a new era for California cocktailers, making Downtown LA one of the most exciting places in the US to drink spirits.



Just as it always has, SoCal is again at work defining another chapter in our cultural narrative, commingling seemingly disparate factors into its own unique interpretation of this moment in time. Like the mixologists who have moved west to escape it, as we disengage from the post 9/11 era of fear, loathing, and nationalistic despair, we will find an emerging West Coast culture stepping forward to again champion those familiar ideals, in yet another distinct and singular incarnation, that it has so often upheld in the past. 

That vibrant, flavorful Southern California cocktail of sun drenched style and carefree attitude.



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Florida Distillers Receive a Gift Horse

Wednesday, August 5, 2015
Times change, but the song remains the same.

Such was the emotional response elicited by the latest press release from St. Augustine Distillery, sharing news of the enactment of HB 347.

Not owing to anything related to St. Augustine themselves, its message is both offensive and presumptuous, obviously to a lesser extent, in the way that it must have been to slaves given their freedom or women accorded the right to vote. As if those restoring these rights, rights inherent yet tyrannically withheld, had anything to give, or any authority to gift it.

Not that we’re not thrilled for micro-distillers and craft spirit enthusiasts in the state of Florida. We are. But we are also incensed at the audacity of a system that purports to be, in this day and age of unadulterated freedom, anything more than protectionist and oppressive.

“This new law allows our customers to buy two bottles, per brand, per year,” explained Philip McDaniel, co-founder and CEO of St. Augustine Distillery in St. Augustine, Fla. and co-founder of Florida Distillers Guild. “That means that someone can buy two bottles of our Florida Cane Vodka, two bottles of our New World Gin and two bottles each of our rum and bourbon when they become available to the public.”

In response to the new law, which took effect on July 1st and purportedly gives Florida spirit makers the ability to sell more of their product directly to consumers, St. Augustine Distillery unveiled new brands for their vodka and gin. This allows them to exploit a small loophole in the law, marketing their spirits under multiple brands that customers can then buy direct. More brands are set to hit the shelves over the next six weeks.

This gift from the Florida legislature means that a customer can now buy two bottles of each of the following products from the St. Augustine Distillery gift shop in one calendar year: Florida Cane Vodka, Pot Distilled Vodka, Ice Plant Edition Vodka, New World Gin, Pot Distilled Gin and Ice Plant Edition Gin.

God forbid you should want three bottles, or if St. Augustine should run out of names. Or at least the Florida legislature does.

What is striking about this arrangement, beyond its duplicitous ridiculity, is the glaring light it shines on our inability to completely discard disrupted social constructs, even those proven to be criminal or downright inhumane. As depicted in AMC’s brutally authentic Hell on Wheels, you can change the name of slave to freedman but the relationship, or at least the operating mindset, remains very much the same. Too often, the comfort of familiar constraints is deemed preferable to the apprehension of uncharted possibility.

By selling direct, craft distillers cut out a century of middlemen and disrupt a system that has, until now, remained relatively unassailable. A veritable maze of regulation, unique to each state, exists to bridle what to most seems a rather straightforward proposition, that of producers selling their wares to people who want it.

The obvious solution, allowing retail sales at distillery locations within the boundaries of any given state, is just too easy, too democratic, too direct. Producers and consumers evidently can’t be trusted with such an important transaction. Why else would Florida deem it necessary to enact legislation that clearly serves no other interests than the ones still struggling to maintain their tenuous grasp on a defunct status quo?



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In Praise of Slowness and the 32 Hour Work Week

Thursday, July 9, 2015
Considering that we humans have literally been to every place on the planet, its rather surprising to find that people are still in such a hurry.

That enigma is the essence of what inspires the Slow Movement, characterized in Carl Honoré's 2004 book In Praise of Slowness as “a cultural revolution against the notion that faster is always better. The Slow philosophy is not about doing everything at a snail’s pace. It’s about seeking to do everything at the right speed. Savoring the hours and minutes rather than just counting them. Doing everything as well as possible, instead of as fast as possible. It’s about quality over quantity."

Whether Slow necessarily equates to Quality is up for debate, but one thing is certain, microshiners subscribe to its doctrine. With no vast undeveloped wilderness remaining to harbor fresh prospects the best option is to turn inward, to begin to refine the human experience, to slow down and smell the roses, to literally lead a life, distilled. This is what it means to be a microshiner; to realize that what matters most in life is not waiting somewhere over the next horizon, but right there in front of you.

But most of us are hesitant to accept this reality. We rush about in an attempt to distract ourselves from the fact that the world really is that small, that life truly is this short. Citing Einstein’s Theory of Relativity, we fancy that by moving faster than others we will outlive them, while in truth we merely end up leading a life half lived.

Not that there isn’t a need to seize the moment with timely action. To the contrary, this movement is about creating the space and awareness necessary for accomplishing great things. While others scurry about like rats in a maze, the microshiner or practitioner of Slow takes a more meditative approach. It is the classic lesson of the Tortoise and the Hare. Or in the words of Phil Dunphy, “Slow is smooth, and smooth is fast.”

One person who gets this concept, and employs it, is Ryan Carson, CEO of Treehouse. Since 2006, Carson has maintained a four-day work week at Treehouse. He believes that ensuring balance between work and the life outside it actually makes employees more productive. More importantly, he feels its the right thing to do, for our time and his people.


And that is the thing that is most striking about an inquiry of Slow philosophy: that we now occupy a space in which we actually have the opportunity to practice it, if not attain the balance it proposes. Never before has humanity been wealthier or more at peace than the present, or our physical needs more fully met. There are fewer of us than ever spending our time engaged in meeting these basic requirements. There is no reason not to go Slow.

Microshiners know this. The craft movement is our response to it. Whether it is creating balance amongst our personal obligations, choosing quality over quantity in our purchasing decisions, or simply enjoying a great cocktail with good company, we understand there is much to be gained from a more purposeful and deliberate pace. Our goal is to revel in the moment, to proclaim it in word and deed, in art and experience, to realize as best we are able the amazing gift of our very existence.

We hope you will join us on this journey.





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How Micro Saved the World

Friday, March 27, 2015
For those willing to pause long enough to look beyond the sensationalism and pessimistic oratory of mainstream media, it is easy to see we are in the midst of a truly exciting time. The world is smaller than ever before, and we are, in many ways, more connected than ever. Machines have nearly eliminated the need to toil constantly for our basic existence, leaving us time to luxuriate in an unprecedented era of edible, artistic, and cultural bounty. It isn’t a leap to imagine a rather swift transition to one of those leisure-filled technological utopias of mid-20th Century science fiction.


The current resurgence of craft culture is, most assuredly, a consequence of this prosperity. But what makes it remarkable is that it is also absolutely essential in our ability to leverage our present cornucopia into a stable, sustainable society.    


Prior to the Industrial Revolution, there was almost no such thing as unemployment. A person could literally not afford to be idle; if they were, they starved. Only the very young, wealthy or infirm were afforded the luxury of leisure, and even they to but a small extent.


Technology, over the past two centuries, has utterly transformed this paradigm, to the point that, today, one can find perfectly able-bodied people whose time is spent wholly engaged in leisure. In civilized nations of the world, which account for most, even the hardest working among us spend but a fraction of our lives at life-sustaining labor.


This, however, comes at a cost. Our system of centralized, petroleum based, macro production has created an excess of available labor. It has also equated consistency and abundance with quality. Micro production and craft culture is a societal rebuke to this phenomenon, as well as our best conduit to a lasting, secure economy.


The economy of the world is nearing a state of maturation, after which growth will largely be confined to reallocation among analogous points of interest. There is only so much wheat to make so much whiskey, and only so many people in the world to drink it; in other words, there is an absolute upper threshold for production that is limited by consumption. Soon the market will reach a point of saturation, when the only potential for growth will be confined to shifting market share between similar products. Or in simpler terms, the only variance will be whether the drink of choice is whiskey or beer.


At such a point, further division of labor becomes meaningless, and in fact counterproductive. The rebirth of craft is a function of our nearing this point. We have become so efficient at fulfilling our basic needs that people have begun to regress, to reverse the division of labor. They are once again making things by hand, simply because they have too much time on them.   


Decrease in growth is aberrant to the modern economic cognos, but in reality it is nothing to be afraid of. Zero growth economies have existed throughout human history, many for much longer than our current growth based model. That is not to say that a transition to one won’t have its challenges; it most certainly will. But every great leap forward has been spurred by the need to overcome some difficulty or another, and this is no different.


So what does this have to do with craft spirits?


What this means to craft spirits is that they are not a trend, or a flight of fancy, or a passing fad that will ultimately be absorbed by the mainstream. It is an entirely new way of doing business, one rooted in classic methodology yet predicated upon the potential created by the contemporary. The wildly successful model of fossil fueled and automated macro production has given us a platform from which to recapture the most enviable facets of tribal living, the bonds of community and interdependence, while retaining the leisure time afforded by technological advancement, even leveraging that luxuriant asset into the meaningful Pursuit of Quality.

To borrow a quote from Stanley Kubrick’s brilliant war opus  - These are great days we're living, bros!





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