An Eye to the Main Chance

I've followed and enjoyed a few series from the seventies on Talking Pictures TV, especially Public Eye, with Alfred Burke as luckless private detective Frank Marker. My current favourite is The Main Chance, with John Stride as an unorthodox, and now struck off, solicitor David Main.

Like Public Eye, each episode of The Main Chance looks at a social issue of the time (housing shortages, juvenile delinquency, child custody). Last night it was the bête noire of the right-wing press in the seventies, and now, trade union militancy, with Main intervening in an industrial dispute on a large building site.

As with the films The Angry Silence and I'm All Right Jack, it goes out of its way to avoid being seen as anti-union per se, reserving its ire for picket line violence, intimidation and unofficial strikes sparked by an outside agitator or individual  militant (played by Alfred Burke in the former and Peter Sellers in the latter), with trade union officials portrayed as equally keen to stop these things and root out those responsible for them. Here the thorn in the bosses' side is played by Ray Smith (a change of part from his role as the policeman DI Firbank in Public Eye) as a militant who combines a genuine concern to improve working conditions, delivering an impassioned speech about health and safety and victimisation in the building industry, with running various scams for his own private gain, while attempting to outwit Main's assistant, an ex policeman played by Glynn Edwards who goes undercover on the site to gather evidence against him.

No doubt for technical and cost reasons, a lot of these series from the seventies are quite stagey, with little in the way of outdoor location shooting, and the script quality can be a bit uneven, but the acting and themes often lift them, and it's always fun to spot some retro features, whether in the pubs the characters frequent or the vehicles they drive.

 

The Death of An English Pub

The two drinking establishments closest to me were both built as estate pubs in the sixties, one by Chesters Brewery at the start of the decade and the other by Holt's towards the end of it.

The latter has been transformed by successive rebuilds and refurbishments into a dining pub, but the former remained a community local until it shut a couple of years ago. The site wasn't secured properly and the building was vandalised, with the cellar becoming an unofficial youth club, and last week damaged by a fire.

It's on an overspill estate built by Manchester council in the fifties and has been keg-only since at least the late eighties when I first went, although I'd guess it served cask beer when it opened in the early sixties (Threlfalls bought Chesters in 1961, and was then taken over in 1967 by Whitbread, who in 1988 shut their brewery in Salford, which is now a conference centre).

The site is still for sale, but at £1.2 million, and more needed to be spent on repairs if it were to reopen as a pub, the likelihood now must be that a developer will buy it and demolish the semi-derelict structure before building houses there.

Has the wet-led community local a future then? Although a few still seem to thrive, the statistics suggest that many do not, with several others already having been shut and knocked down locally (tellingly, the former landlord of the one awaiting its fate near me now runs a micropub serving wine and gin as well as beer in a small unit on the adjacent parade of shops).

Mild thing

Being the first of three Bank Holiday Mondays in May, thanks to the coronation of King Charles next weekend, I set out yesterday afternoon to complete Mild Magic, the annual event organised by my local CAMRA branch to promote mild ale, with a bit of a crawl around some south Manchester pubs.

Across the month it took me, I visited thirteen participating pubs and drank mild in nine of them (in the other four, mild was unavailable in two and undrinkable and returned in two, and either substituted with or changed for bitter or stout).

Five of the pubs where I drank mild were tied houses (1 Holt's, 3 Hydes, the sponsors of the event, and 1 Wetherspoons, all serving dark milds), three micropubs (2 light and 1 dark mild), and one a social club in a former pub (another dark mild). Seven of the pubs were in Manchester and two in Stockport.

I voted for the Cross Keys in Adswood as the best pub I visited, and Thirst Class Sweet Mild O' Mine as the best beer I drank.

After completing my sticker card at Reasons To Be Cheerful in Burnage, I continued to Ladybarn Social Club, where I received a very friendly welcome from the staff there (it's the local CAMRA Club of the Year, and has some interesting architectural features). It was the first time I'd been to either, and, as on another occasion in south Manchester a few years ago, made for a contrast between a young hipsterish bar and a more traditional drinking establishment.

Runaway to the Riverbank

Before a CAMRA pub crawl around central Stockport last night, I popped into the town's newest brewery, Runaway, which relocated there a few months back from Dantzic Street on the edge of Manchester's Northern Quarter and opened their bar to the public a week ago (I'm not sure where the name comes from: maybe it's a tribute to Del Shannon's 1961 hit whose line "I'm a-walkin' in the rain" is equally applicable to Manchester and Stockport).

Their new place is pretty much what you'd expect from a modern brewery taproom in a converted industrial building: stainless steel vessels, wooden tables in a bright, airy space with lots of natural light from the large windows and a mostly keg lineup on the bar along with a couple of cask lines. There's a bottle shop you can stock up at and plenty of outside seating in the courtyard beer garden, where the young, hipsterish crowd was enjoying pizzas from a wood fired oven. On the banks of the Mersey, it's just upstream from the town's famous railway viaduct, next to the the new bridge over the river which I hadn't been across before, and from where you get a panoramic view of the town centre.

Stockport might not be the new Berlin, but with more residential and retail development on the way, and transport improvements that will hopefully include the Metrolink tram system reaching it at some point, that side of the town is certainly being transformed rapidly, and will soon be unrecognisable from the scene once viewed and described disparagingly by a German communist travelling above it across the railway viaduct.

Back in town

I met up with a mate who happened to be in town and went on a bit of a pub crawl round Manchester city centre yesterday afternoon, the first time I'd been there since the beginning of 2020.

Before the start of the pandemic, I went into town at least once a week, a ten minute train journey through the south Manchester suburbs on which, having done it hundreds of times over the years, I got to know the order of the intermediate stations by heart and almost every yard of junction, siding and signalling we passed through. It was quite surreal seeing it all again yesterday.

The pubs we went to - the Piccadilly Tap, City Arms and Britons Protection - were all pretty much the same as three years ago, although the last seems to be imperilled not just by the ongoing dispute with its owner, but also the still expanding cluster of apartment towers at the end of Deansgate. 

The most startling thing really was seeing the town hall encased in white plastic sheeting and Albert Square occupied by a mountain of builder's portacabins.

We're All Doomed (Bar None)

There are four pubs within a mile of where I live. They are all dining places to a greater or lesser degree and only one, a Holt's house, regularly serves cask beer; in the others, which have it on occasionally, it's normally represented by a single handpump for Sharp's Doom Bar.

As a national brand of bitter, Doom Bar is often dismissed as a boring brown beer, despite being the UK's best selling cask ale and favourably reviewed by at least one blogger. I drank, and enjoyed, it on a CAMRA stagger around the area last summer, and saw it on the bar of a couple of pubs while on another of Cheadle Hulme on Friday night, although it was either unavailable or overlooked in favour of better cask options 

I popped into the largest local pub, which also has a hotel attached to it, the other afternoon (most of its trade comes from Manchester Airport, whose runways lie a couple of hundred yards to the west). Unlike on my last visit, Doom Bar was available, but the bar was completely deserted and, wanting to avoid the first pint out of the pump, I swerved it and had half a Guinness instead, which being the normal rather than Extra Cold version wasn't actually a bad drink. I'll call in at the weekend when it's a bit busier, I thought, and duly did yesterday afternoon, only to find a pint pot atop the handpump again, so had another half a Guinness.

Guinness is a bit of a thing itself at the moment, overtaking Carling Black Label as the best selling UK beer brand, a position the latter had held since the early eighties (although it's still top in volumes rather than revenue, and the market for stout is still much smaller than the overall lager one). Anecdotally, I seem to have seen more people drinking it in pubs recently, including younger ones. Could keg lager become a declining beer style favoured by older drinkers like cask bitter and mild before it?

I've been in ten different pubs so far this year, the same as the first two months of 2020, compared to only half a dozen last year, and thirty-eight in 2019.

Boak and Bailey have written a very useful summary of Doom Bar's rise from regional beer to national brand.

Carling Black Label is an older beer than you might think, having been brewed in Canada since the late twenties and available here in bottles since the early fifties and on draught since the mid sixties, as explained in Ron Pattinson's excellent, and typically comprehensive, history of British lager.

Kafka and beer

I've been re-reading in the last few days some of the works of Franz Kafka, which I first discovered as a teenager in the eighties.

As with Dickens, Orwell, Patrick Hamilton, and his compatriot Jaroslav Hasek, there are very few novels or longer short stories by Kafka which don't feature pubs, beer, or the effects of drinking, often in the opening chapter or even paragraph: the young land surveyor K. in The Castle who arrives late on a winter night at the village inn where a "few peasants were still sitting over beer"; the victim of The Trial, Josef K., who on leaving the office at nine would "go to a beer hall, where until eleven he sat at a table"; and Metamorphosis, which can be seen as a description of a hangover.

Coming from a well-off, German speaking Jewish family, Kafka felt alienated by his class, language and religion from much of the society around him in early twentieth century Prague, but there was one thing he shared with his fellow Czechs: an appreciation of good beer, still ubiquitous in his native Bohemia.

Kafka's relationship with his father was a difficult one, but dying of tuberculosis at the age of forty in a sanatorium outside Vienna in 1924, and unable to swallow much, he wrote to his parents about how "during heat spells, we used to have beer together quite often, many years ago, when Father would take me to the Civilian Swimming Pool" and recalled the same childhood memory to his girlfriend Dora who nursed him there:

"When I was a little boy, before I learnt to swim, I sometimes went with my father, who also can't swim, to the non-swimmer's section. Then we sat together naked at the buffet, each with a sausage and a half litre of beer...You have to imagine, that enormous man holding by the hand a nervous little bundle of bones, or the way we undressed in the dark in the little changing room, the way he would then drag me out, because I was embarrassed, the way he tried to teach me his so-called swimming, etcetera. But then the beer!"

I'm still hoping to go to Prague myself one day, possibly when the sleeper train from Berlin starts running there next year; I'll be sure to raise a glass of pivo to him when I finally get there.