City Tavern in Culver City hosted Brewers Unplugged: 22 Breweries 1 Night on Thursday, September 26 offering some of the best beers in the county while uniting the people that produce them. Most corners of the craft beer industry were represented; owners and brewers joined forces with media and sales representatives and of course, the ever-eager consumer. Everyone was locally-based and enthusiastic to sample the wide array of brews. At City Tavern, where small pours are available, there was no excuse for walking away without an opinion on every beer and an introduction to every brewery.
The vast majority of bodies blocking servers and food runners from attending to their tables were those of proprietors and brewers. From brewery owners Cyrena Nouzille (Ladyface) and Meg Gill (Golden Road) to brewmasters Dieter Foerstner (Angel City) and Rob Croxall (El Segundo) you’d be hard-pressed to uncover an L.A. county brewer absent. Those with smaller operations who both own and brew were in attendance, like Henry Nguyen (Monkish) and Andrew Luthi (Ohana), as well as those brewing on others’ systems or still looking for their own brick and mortar to call home: Kip Barnes (L.A. Ale Works), Simon Ford (Phantom Carriage) and Kingsley Toby (Pipe Dream).
On tap were highly-coveted, small-batch sweets like Naughty Sauce (blonde milk stout, Noble Ale Works), Seme della Vita (tripel with vanilla beans, Monkish), and vibrant wildcards like Surf Shack (sour blonde, Ohana) and Karma Kolsch (Thai tea-infused kolsch, L.A. Ale Works). Local favorites maintained their popularity, especially Unity (“red mild” brewed with hibiscus and honey, Eagle Rock) and Bryeian (Cascadian dark rye, The Bruery).
The event wasn’t just about great beer and brewers, it was about uniting the L.A. beer community. However many hours they put into making beer every week, these players don’t often get to commingle or commiserate with so many other operators in one place, at one time. The advantage to being so tightly packed into the space was the opportunity to overhear conversations (without blatantly eavesdropping) on topics both polarizing and inspiring. ABC regulation of breweries endorsing bars was highly debated as were strategies for fundraising and finding investors. Suggestions on how to stand out from hundreds of other breweries at the Great American Beer Festival were offered, and every brewer’s sore-spot — bars that neglect to properly clean their taplines — induced groans. Talk of the financial risk factors and high stakes of barrel-aging — exposing your lineup to unwanted bugs for the possibility of expanding your brand and garnering the respect of peers and consumers — was especially interesting.
Regardless of the micro-politics that play out in the Southland beer industry, Thursday night was an opportunity to put differences aside and put faces to names (or more accurately, brewers to beer labels). We must further explore the multi-faceted identity that makes up the L.A. beer scene: idiosyncrasies that separate the west side from east side or the valley from the south bay; the potential for L.A. beer to be recognizable by its proclivity for experimentation; the consistency with which our beer pairs to food. Precisely how our community distinguishes itself from others may not yet be determined. L.A. beer is still young and only beginning to course through a rebellious adolescence. The only way for our community to mature and present a unified front, is by coming together, in nights like Brewers Unplugged.
Brewers Unplugged Taplist:
The Dudes’ Outsourced IPA
Noble Aleworks Naughty Sauce
Ohana Surf Shack Sour Blonde
El Segundo Casa Azul
Brouwerij West Brilliant but Lazy
LA Aleworks Karma Kolsch
Bootleggers Wildfire Wheat
Strand Atticus on cask
Cismontane Blacks Dawn
Ladyface La Grisette
Eagle Rock Unity
Golden Road Smoking Bush IPA
Phantom Carriage Muis
Pipe Dream Dark Horse
Monkish Seme Della Vita
Congregation Three Cords and the Truth IPA
Angel City Eureka! Wit
Hangar 24 Polycot
Taps Pumpkin Ale
Smog City Groundwork Coffee Porter
The Bruery Bryeian
It’s been said that the craft beer industry is 99% asshole free, a sentiment I’m inclined to agree with. But even after meeting fiercely passionate brewers, bartenders, and the like, someone like Bernie Wire comes along whose kindness and generosity almost defy reason. And even if you don’t know him by name, you’ve likely seen him around at many of the local beer events, snapping pictures and chronicling the rise of LA’s burgeoning craft beer scene.
Since 2011, he’s photographed over 250 shindigs, collecting thousands upon thousands of images featuring everyday people enjoying each other’s company over drinks. And now, he’s selected some of his favorites for an exhibit called “I Shoot Beer People” that’s going up at Mohawk Bend in Echo Park starting on September 17, running through LA Beer Week, and continuing on until October 31.
Bernie has become a mainstay, his happy face capturing other happy faces and uploading the resulting snapshots to his Friends of Local Beer Facebook page at no charge. “I’ve always liked taking pictures,” explains Bernie. “And when you go to these beer events, it’s amazing what you find. You come across folks who truly celebrate craft beer… and they love the people who brew it, sell it, serve it, write about it, or just simply enjoy drinking it. It’s a community unlike any other I’ve ever experienced.”
The 56-year-old Oklahoma native’s photo fascination began when he was a child: “I took pictures of a rock climbing trip I took during summer break one year, and I loved the fact that when I got home, I’d be able to get that memory… that stimulus… all over again through pictures.” Sharing these memories with others further fueled his excitement, even early on. “I turned my pictures into a slide show and played it at show and tell when I got back to school, and the class was really into it,” he recounts.
A single photography class in high school was the only formal study he ever gave the subject, though even when he attended the University of Oklahoma to study microbiology and chemical engineering, he felt most passionate when he nurtured his creative side in art classes, and he ultimately pursued his Bachelor of Fine Arts degree with a focus on metalsmithing. “I played with ceramics, but found early on that I really enjoyed the immediacy of metals. While clay had to go off to a kiln to cure and dry, I could weld metals into sculptures and they never had to leave my hands.” It was then that one of his professors, Lane Coulter, asked if Bernie knew anything about titanium. “He told me it could be colored, and this little light went on in my head… I had to see this. I had to do this.”
Titanium was a little hard to come by—Bernie needed to sift through aerospace scrap yards to find what he needed—and not much literature existed at the time that explained how it could be colored, but he persisted and tracked down a paper that gave him the basics. “There are no actual pigments on the metal,” he explains. “You create color through oxidation.” Bernie dips the titanium—a whiter shade of silver in its untreated form—into an electrified chemical bath that creates a layer of titanium dioxide, the thickness of which can be altered by the amount of voltage pumped through the anodizing liquid. It’s the thickness of the oxide film that determines the colors, but Bernie is quick to explain, it’s no pigment. “Think of it like a soap bubble; those colors you see are a result of light waves interacting and interfering with one another as they travel through the film and reflect off the surface.”
He soon discovered a rarely used micro spot-welding machine at the university, and found that it was perfect for joining titanium pieces. He began creating jewelry and working on larger sculptures that would eventually earn him an award at the 1987 International Platinum Design Competition in Tokyo. The photography became even more important through all of this as Bernie would always want to take pictures of his stunning work.
But as many artists will attest, it’s tough to make a living through art. And though Bernie continued creating (and shooting) his pieces, the same microwelding equipment he used for his artwork would lead him to his “real” work that paid the bills. He’d moved to pursue a Master of Fine Arts degree at Arizona State University, but bowed out after just one semester. “Three weeks into a two-month research position I proposed on titanium welding, I was doing stuff they said wasn’t possible,” he says proudly. He ended up staying on with the company for five years before moving to Monrovia in 1983 and starting his own consulting business.
By day, he developed processes for welding components—some thinner than a human hair—under a microscope, improving design and functionality for many items such as pacemakers, airbag initiators, ultrasound transducers, microcoaxial cable, and stadium lights. But by night, he continued with his art. “I had no social network at all,” Bernie admits. “It was just work, work, work. But I made discoveries in art that became solutions for productions and vice versa.”
His interest in beer came a little later, with his first visit to the late Greg Noonan’s famed Vermont Pub & Brewery in 1989. “The beer laws in Oklahoma were archaic and there wasn’t a lot of good beer there,” Bernie laments. “Thankfully, that’s changed some since then, but porters and IPAs weren’t even on my radar until heading up to that brewpub in Burlington.”
Bernie loved to take trips with childhood friends whenever possible, and he always brought his trusty camera along with him. After their epiphany in Vermont, many more beer outings were planned, including one to the Great American Beer Festival, which really opened his eyes to the wide world of craft beer. As technology advanced, he created a private website where he could share pictures of his travel, an early precursor to what he does now with pictures of the SoCal craft beer community on Facebook.
As much as he loves taking pictures at these events, he admits he doesn’t know if he can carry on like he has been. “I can’t afford to do it full-time, since I’m usually not getting paid,” he chuckles. He is quick to thank those who have offered to pay him for his photos—places like El Segundo Brewing Co., Monkish Brewing Co., 38 Degrees Alehouse & Grill, Tin Roof Bistro, and Phantom Carriage—but has no plans to stop with his consulting. “Whether I’m welding or making art or taking pictures, I’m just glad I’ve been able to earn my living while having fun,” he beams.
Bernie lives near Culver City with his wife, Anne Marie Gillen, who, in addition to being a most delightful person, does some notable work herself. She’s a consultant, a published author, and served as the executive producer of Fried Green Tomatoes. To see more of Bernie’s photos, head to his “Friends of Local Beer” Facebook page, and to see more of his metal artwork, check out TitaniumArt.com.
“I Shoot Beer People” | a craft beer photo exhibit at Mohawk Bend
Sponsored by West Coaster SoCal
Runs from September 17 through October 31st
Mohawk Bend, 2141 W Sunset Blvd., Los Angeles
Opening Reception with photographer Bernie Wire
Tuesday, September 17, 5:30pm-7:30pm